Para/Intertextuality with a focus on <br />Video Games<br />
The Text<br />It is commonly thought of within media theory that everything is a text…<br />Text = A series of coherent se...
Intertextuality<br />“An intertext is one or more texts which the reader must know in order to  understand a work of liter...
Intertexts<br />Intertexts are works which inform or help construct a text. They can be from any medium but the main text ...
Intertextuality and Videogames<br />
“Seeing games as ‘intertextual’ reminds us that no game or instance of gameplay is an island; like literary texts, every g...
“[video games are] ...hybrid, extra-linguistic, open-ended, configurative and procedural systems”<br />Jones, S.E., 2008. ...
Peritext/Epitext<br />Peritext – refers to all the text encompassed in the volume, for example the game itself, the disc a...
Peritext/Epitext<br />“Paratext = Peritext + Epitext”<br />Paratexts create a area of “transition” or “transaction” in the...
THE FOLLOWING LISTS ARE NOT COMPLETE OR EXHAUSTIVE<br />THEY ARE MERELY FOR ILLUSTRATIVE PURPOSES<br />THEY ADDRESS AN EVE...
Core Games<br />
Pokemon Evolution Capsule<br />Novels<br />Graphic Novels<br />
Films and TV Program<br />
Trading Cards<br />
Transmediality<br />“...a process where integral elements of a fiction get dispersed systematically across multiple delive...
Transmediality<br />‘are stories told across multiple media. At the present time, the most significant stories tend to flo...
Transmediaand<br />
Iconic Characters <br />
The Promotion Models<br />
The Movie<br />
The Comics<br />Pre-Teen Raider<br />The Interactive DVD<br />The Animated Series<br />
User and Commercial erotica and pornography<br />
Fanfic (Fan Fiction)<br />
The Core Games<br />The Box Art and Packaging (including limited edition releases)<br />
The AdditionalGames<br />
The Game Soundtracks<br />
The Creation of the Prosumer<br />Poducer+Consumer = Prosumer<br />We have seen a dramatic shift in media to the creation ...
The Unofficial Flash Games<br />http://www.invalidmob.com/Flash_Games/Halo.html<br />
The Novels<br />
The Graphic Novels and Comics<br />
The Guide Books<br />The Art of Books<br />Mod Books<br />
The Movie<br />Adverts and TV Spots<br />Short Films<br />
Alternative Reality Games<br />
LARP (Live Action Role play)<br />Forum Based Roleplay/Fanfic<br />
Table Top Role Playing Games<br />
Red Vs. Blue<br />This Spartain Life<br />Warthog Jump<br />Machinima<br />
User produced  Pornography and Erotica (Porn Stars play strip Halo 3)<br />
Paratextual and Intertextual Studies
Paratextual and Intertextual Studies
Paratextual and Intertextual Studies
Paratextual and Intertextual Studies
Paratextual and Intertextual Studies
Paratextual and Intertextual Studies
Paratextual and Intertextual Studies
Paratextual and Intertextual Studies
Paratextual and Intertextual Studies
Paratextual and Intertextual Studies
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Paratextual and Intertextual Studies

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Transcript of "Paratextual and Intertextual Studies"

  1. 1. Para/Intertextuality with a focus on <br />Video Games<br />
  2. 2. The Text<br />It is commonly thought of within media theory that everything is a text…<br />Text = A series of coherent sentences<br />Text = A cultural object or media artefact that meaning can be extracted from.<br />…because of this shift we can deconstruct and study any medium or object as a series of signs which meaning can be extracted from.<br />
  3. 3. Intertextuality<br />“An intertext is one or more texts which the reader must know in order to understand a work of literature in terms of its overall significance (as opposed to the discrete meanings of its successive words, phrases and sentences)”<br />Riffaterre, M. Compulsory Reader Response: The Intertextual Drive in Worton, M. And Still J. [ed], (1990). Intertextuality: Theories and Practices, Manchester University Press  <br />The Simpsons., Dog of Death (2003). United States Fox, 20th Century Fox Home Entertainment,  <br />
  4. 4. Intertexts<br />Intertexts are works which inform or help construct a text. They can be from any medium but the main text relies on them to help construct meaning.<br />Intertextality was first coined by the post-structuralist Julia Kristeva in the late 1960’s<br />An intertext connects the studied text to media as a whole and stops the text from being an island.<br />
  5. 5. Intertextuality and Videogames<br />
  6. 6. “Seeing games as ‘intertextual’ reminds us that no game or instance of gameplay is an island; like literary texts, every game extends outward from itself in many directions. The relationship of text to context and intertext has after all been at the center of modern literary theory for decades”<br />Jones, S.E., 2008. The Meaning of Video Games: Gaming and Textual Strategies 1st ed., Routledge.  <br />Jones’ book works as a series of case studies, using specific instances or examples of video games intertextuality. It traces video games permeation into culture and cultures symbiotic relationship with video games.<br />
  7. 7. “[video games are] ...hybrid, extra-linguistic, open-ended, configurative and procedural systems”<br />Jones, S.E., 2008. The Meaning of Video Games: Gaming and Textual Strategies 1st ed., Routledge.  <br />Jones’ draws on Gerard Genette’s theories of paratexts to examine video games and their place within the divergent systems of culture.<br />The theory of paratext works with ideas of the “threshold of the text”. It looks at what constructs the text, and when working with literature would encompass the preface, epigraph, cover, advertising, distribution, intertexts... Paratextual studies expands what is included in the term text. The text grows is ever increasing spirals into society.<br />
  8. 8. Peritext/Epitext<br />Peritext – refers to all the text encompassed in the volume, for example the game itself, the disc art, the manual and its layout and the cover art<br />Epitext – refers to all the related texts, interviews with the various members of the design team, the console, the publicity<br />
  9. 9. Peritext/Epitext<br />“Paratext = Peritext + Epitext”<br />Paratexts create a area of “transition” or “transaction” in the texts reception. It is closley linked to areas of “social texts”<br />Genette, G., 1997. Paratexts: Thresholds of Interpretation, Cambridge University Press. <br />Paratextual Studies creates a THRESHOLD of the text. <br />
  10. 10. THE FOLLOWING LISTS ARE NOT COMPLETE OR EXHAUSTIVE<br />THEY ARE MERELY FOR ILLUSTRATIVE PURPOSES<br />THEY ADDRESS AN EVER EXPANDING FIELD OF STUDY SO AIM TO SKETCH AN AREA OF STUDY OR PRACTICE NOT TO BE ALL ENCOMPASSING<br />THESE SLIDES ARE HEAVILY SUBSIDISED WITH ILLUSTATIVE VIDEOS<br />
  11. 11.
  12. 12. Core Games<br />
  13. 13. Pokemon Evolution Capsule<br />Novels<br />Graphic Novels<br />
  14. 14. Films and TV Program<br />
  15. 15. Trading Cards and Characters <br />
  16. 16. Trading Cards<br />
  17. 17. Transmediality<br />“...a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience. Ideally, each medium makes it own unique contribution to the unfolding of the story.”<br />Confessions of an Aca/Fan: Archives: Transmedia Storytelling 101. Available at: http://www.henryjenkins.org/2007/03/transmedia_storytelling_101.html [Accessed October 19, 2009].<br />
  18. 18. Transmediality<br />‘are stories told across multiple media. At the present time, the most significant stories tend to flow across multiple media platforms’ (Jenkins et al., 2006).<br />Transmedia refers to narratives which cross media, this creates a networked universe of media which can be viewed through many medium.<br />cross media (Bechmann Petersen, 2006) <br />hybrid media (Boumans, 2004)<br />intertextual commodity (Marshall, 2004)<br />transmedialinteractions (Bardzell et al., 2007)<br />multimodality (Kress & van Leeuwen, 2001) <br />intermedia (Higgins, 1966).<br />
  19. 19. Transmediaand<br />
  20. 20. The Core Games (and mods)<br />
  21. 21. Iconic Characters <br />
  22. 22. The Promotion Models<br />
  23. 23. The Movie<br />
  24. 24. The Comics<br />Pre-Teen Raider<br />The Interactive DVD<br />The Animated Series<br />
  25. 25. User and Commercial erotica and pornography<br />
  26. 26. Fanfic (Fan Fiction)<br />
  27. 27. Reading<br />
  28. 28. Spore<br />To The Power of Ten<br />
  29. 29. Transmediaand<br />
  30. 30. The Core Games<br />The Box Art and Packaging (including limited edition releases)<br />
  31. 31. The AdditionalGames<br />
  32. 32. The Game Soundtracks<br />
  33. 33. The Creation of the Prosumer<br />Poducer+Consumer = Prosumer<br />We have seen a dramatic shift in media to the creation of the prosumer who doesn’t just consume media but plays an active role in it’s production.<br />
  34. 34. Flash Halo CTF<br />16-bit Halo<br />Halo 2 arcade<br />The Unofficial Flash Games<br />
  35. 35. The Unofficial Flash Games<br />http://www.invalidmob.com/Flash_Games/Halo.html<br />
  36. 36. The Novels<br />
  37. 37. The Graphic Novels and Comics<br />
  38. 38. The Guide Books<br />The Art of Books<br />Mod Books<br />
  39. 39.
  40. 40. The Movie<br />Adverts and TV Spots<br />Short Films<br />
  41. 41. Alternative Reality Games<br />
  42. 42. LARP (Live Action Role play)<br />Forum Based Roleplay/Fanfic<br />
  43. 43. Table Top Role Playing Games<br />
  44. 44. Red Vs. Blue<br />This Spartain Life<br />Warthog Jump<br />Machinima<br />
  45. 45. User produced Pornography and Erotica (Porn Stars play strip Halo 3)<br />

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