**Author details**

*Narrative Transmedia*

(letraslibres.com):

profession.

development.

socially and culturally even more.

medium make its own contribution to the narrative in such a way that it supposes an exclusive and valuable contribution and that it encourages the participation and collaboration of the public in the construction and development of this. It is ultimately about promoting unique experiences and multidirectional communication through multiple channels with the purpose of maximizing the scope of the experi-

It is likely that many think that the transmedia narrative is a passing fad that will be forgotten along with other models and communication techniques that, despite the triumphs harvested not so long ago, have been relegated by new formats resulting from a new individual and a new society with new possibilities and new demands. However, despite the inexorable evolution of both, there is a feature of the transmedia narrative that allows us to say that it will survive over time adapting and changing according to the circumstances of each era as it has been doing since ancient times. Quoting the great narrator Mario Vargas Llosa [8]

*Inventing and telling stories is as old as talking, a task that should have been born and grow with language, when grunts, murmurs, gestures and grimaces, our ancestors, those primitive beings, no longer apes but not yet human, they began to exchange words and to understand each other according to an elementary code that* 

Likewise, we encourage you to continue building this story about the transmedia universe initiated by a group of teachers, researchers, and professionals in the field of education, communication, arts, etc., through their criticisms, contributions, comments, etc., because the transmedia narrative arises without doubt in response to the new needs of organizations but also drawing a new horizon full of opportunities, challenges, and stories to tell so that professionals, teachers, and researchers in the field of communication continue falling in love every day a little more than our

As a conclusion, it is true that since its inception the human being has felt and feels the need to tell his story or simply stories with the same objective: to teach entertainment; what has changed are the forms, the possibilities, and the scope of the dissemination of the narrative. The participation or interaction of the receiver is an ingredient that enhances and consolidates narrative transmedia attraction

This chapter, in which we have shown those polyhedric edges, conforms, as it could not be otherwise, a captivating narrative about the transmedia universe that we hope awakens and maintains its attention by providing an experience as extraordinary as the one we have lived by reading it and collaborating in its

*over the years would be subtilized to great extremes of complexity.*

ence through its dissemination in a coordinated manner.

**6**

Beatriz Peña-Acuña1 \* and Alba Maria Martinez Sala2

1 University of Huelva, Huelva, Spain

2 University of Alicante, Alicante, Spain

\*Address all correspondence to: beatriz.pa@dfilo.uhu.es

© 2020 The Author(s). Licensee IntechOpen. This chapter is distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/ by/3.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

## **References**

[1] Peña-Acuña B. Emotion in cinema. Vivat Academia. 2009;**102**: 1-25. Available from: http://www. vivatacademia.net/h/numeros/n102/ N102/PDFs/n102-1.pdf

[2] Peña-Acuña B. Humanism and cinema. The treatment of human dignity by Steven Spielberg [thesis]. Alicante: University of Alicante; 2010

[3] Peña-Acuña B. Understanding Steven Spielberg. Newcastle upon Tyne: Cambridge Scholar Publishing; 2017. 132p. ISBN: 978-1-5275-0818-7

[4] Peña-Acuña B, Mairlot Miravet M, Martinez Castro SM. The film adaptation of a literary work and its values: An adult child as a protagonist. In: Sanchez Marin JF, editor. Human Development IV. Newcastle upon Tyne: Cambridge Scholar Publishing; 2019. pp. 27-42. ISBN: 978-1-5275-3209-0

[5] Garrido Dominguez A. Narration and Fiction. Madrid/Frankfurt: Iberoamericana/Vervuert; 2011. 265p. ISBN: 978-84-8489-618-0

[6] Frontera C. The Narrative Transmedia. Buenos Aires, Argentina: Editorial SB; 2019. 85p. ISBN: 978-987-4434-57-9

[7] Costa Sanchez C, Piñeiro Otero C. New audiovisual narratives: Multiplatform, crossmedia and transmedia. The case of TV series "Red Eagle (Aguila Roja)" (RTVE). ICONO 14. 2012;**10**(2):102-125. DOI: 10.7195/ ri14.v10i2.156

[8] Vargas Llosa M. Telling stories. 31th July 2004. Available from: https:// www.letraslibres.com/mexico/ contar-historias

**9**

Section 2

Transmedia Storytelling

Interactivity

Section 2
