**Author details**

Begoña Ivars-Nicolas and Francisco Julian Martinez-Cano\* Miguel Hernandez University, Elche, Spain

\*Address all correspondence to: francisco.martinezc@umh.es

© 2019 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.

**21**

p. 47

*Interactivity in Fiction Series as Part of Its Transmedia Universe: The Case of Black Mirror…*

[10] Jenkins H. Transmedia Storytelling 101. In: Confessions of an Aca-Fan. 2007. Disponible en: https://goo.gl/BLBgZS

[11] Jenkins H. Convergence Culture: Where Old and New Media Collide. New York: New York University Press; 2006. (Edic. en castellano: Convergence Culture. La cultura de la convergencia en los medios de comunicación. Barcelona: Paidos, 2008)

[12] Ivars-Nicolás B, Zaragoza-Fuster T. Lab RTVE. La narrativa transmedia en las series de ficción. Revista Mediterránea de Comunicación/ Mediterranean Journal of

Communication. 2018;**9**(1):257-271. DOI: 10.14198/MEDCOM2018.9.1.20

[13] Jenkins H. The revenge of the origami unicorn: Seven principles of the transmedia storytelling. In: Confessions of an Aca-Fan. 2009. Disponible en:

[14] Jenkins H. The aesthetics of transmedia: In response to David Bordwell. En: Confessions of an Aca-Fan. 2009. Disponible en: https://goo.gl/

[15] Scolari C, Jiménez M, Guerrero M. Transmedia storytelling in Spain: Four fictions searching for their crossmedia destiny. Communication & Society. Spain: Navarra University; 2012;**25**(1):137-164. Disponible en:

https://goo.gl/CDdkGd

https://goo.gl/XgtzGa

goo.gl/MesyHJ

[16] Rodríguez Ferrándiz R. El relato por otros medios: ¿un giro transmediático? Cuadernos de Información y Comunicación. 2014;**19**:19-37. Disponible en: https://

[17] Rodríguez Ferrándiz R, Ortiz Gordo F, Sáez Núñez V. Contenidos transmedia de las teleseries españolas: clasificación, análisis y panorama

T885vX

*DOI: http://dx.doi.org/10.5772/intechopen.86881*

Reconceptualizing TV as an engagement medium [Master of Science in Computing Media Studies]. Massachusetts Institute of

[2] Weissberg JL. Présence à distance. Déplacement virtuel et réseaux

numériques: pourquoi nous ne croyons plus la télévision. París: L'Harmatt; 1999

[3] Costa C, Piñeiro T. Nuevas narrativas

audiovisuales Icono 14. Revista de Comunicación de Tecnologías Emergentes. 2012;**10**(2):102-125. ISSN:

[4] García García F. Narrativa audiovisual y nuevas tecnologías. La Hipernarrativa. In: López García X, Soengas Pérez X, editors. Comunicar no século XXI. Actas do Congreso, Santiago

de Compostela, 22-26 novembro de 1999. Santiago de Compostela, España: Universidade de Santiago de

[5] Freitas C, Castro C. Narrativas audiovisuales y tecnologías interactivas.

[6] Manovich L. El lenguaje de los nuevos medios de comunicación. Barcelona, España: Paidós Comunicación; 2005

[7] Vertov D. Kino-eye: The writings of Dziga Veetov. California, USA: University of California Press; 1984

[8] Moreno I. Iconos hipermedia: La llave interactiva. Revista ICONO14 Revista científica de Comunicación

[9] Romero D. La literatura digital en español: estado de la cuestión. Texto Digital [en línea]. 2011;**7**(1):38-66. Available from: https://periodicos.ufsc.

y Tecnologías emergentes.

2003;**1**(1):123-135

Compostela; 2000. pp. 43-57

Revista Estudios Culturales.

2010;**5**:19-42

**References**

Technologies; 2007

1697-8293 (108)

[1] Askwith I. Television 2.0:

*Interactivity in Fiction Series as Part of Its Transmedia Universe: The Case of Black Mirror… DOI: http://dx.doi.org/10.5772/intechopen.86881*

## **References**

*Narrative Transmedia*

several variations.

**Author details**

Begoña Ivars-Nicolas and Francisco Julian Martinez-Cano\*

\*Address all correspondence to: francisco.martinezc@umh.es

© 2019 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,

Miguel Hernandez University, Elche, Spain

provided the original work is properly cited.

video game techniques with a film.

The challenge is clear, and it comes as an encouragement, which is presented to the spectators who seek co-authorship or control over the result. In these cases, the domain of information becomes a conscious pleasure that ends up repeating the experience again and again in search of more clues, more possible itineraries, and more information. This curiosity is enhanced by the novel format that integrates

The *Bandersnatch* experiment is an example as a strategy to attract an audience that demands personalized and participative contents with immersive capacity. The interactivity is the main element for the creation of the transmedia universe that is carefully worked to enhance the participation and immersiveness of the user in the film, generating the necessary curiosity so that it returns once and again to consume the product and therefore it results in new transmedia experiences. It offers an unusual way of consuming audiovisual fiction, as well as contributing to the transmedia universe in which the main fictional core itself is transformed into

**20**

[1] Askwith I. Television 2.0: Reconceptualizing TV as an engagement medium [Master of Science in Computing Media Studies]. Massachusetts Institute of Technologies; 2007

[2] Weissberg JL. Présence à distance. Déplacement virtuel et réseaux numériques: pourquoi nous ne croyons plus la télévision. París: L'Harmatt; 1999

[3] Costa C, Piñeiro T. Nuevas narrativas audiovisuales Icono 14. Revista de Comunicación de Tecnologías Emergentes. 2012;**10**(2):102-125. ISSN: 1697-8293 (108)

[4] García García F. Narrativa audiovisual y nuevas tecnologías. La Hipernarrativa. In: López García X, Soengas Pérez X, editors. Comunicar no século XXI. Actas do Congreso, Santiago de Compostela, 22-26 novembro de 1999. Santiago de Compostela, España: Universidade de Santiago de Compostela; 2000. pp. 43-57

[5] Freitas C, Castro C. Narrativas audiovisuales y tecnologías interactivas. Revista Estudios Culturales. 2010;**5**:19-42

[6] Manovich L. El lenguaje de los nuevos medios de comunicación. Barcelona, España: Paidós Comunicación; 2005

[7] Vertov D. Kino-eye: The writings of Dziga Veetov. California, USA: University of California Press; 1984

[8] Moreno I. Iconos hipermedia: La llave interactiva. Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes. 2003;**1**(1):123-135

[9] Romero D. La literatura digital en español: estado de la cuestión. Texto Digital [en línea]. 2011;**7**(1):38-66. Available from: https://periodicos.ufsc. p. 47

[10] Jenkins H. Transmedia Storytelling 101. In: Confessions of an Aca-Fan. 2007. Disponible en: https://goo.gl/BLBgZS

[11] Jenkins H. Convergence Culture: Where Old and New Media Collide. New York: New York University Press; 2006. (Edic. en castellano: Convergence Culture. La cultura de la convergencia en los medios de comunicación. Barcelona: Paidos, 2008)

[12] Ivars-Nicolás B, Zaragoza-Fuster T. Lab RTVE. La narrativa transmedia en las series de ficción. Revista Mediterránea de Comunicación/ Mediterranean Journal of Communication. 2018;**9**(1):257-271. DOI: 10.14198/MEDCOM2018.9.1.20

[13] Jenkins H. The revenge of the origami unicorn: Seven principles of the transmedia storytelling. In: Confessions of an Aca-Fan. 2009. Disponible en: https://goo.gl/CDdkGd

[14] Jenkins H. The aesthetics of transmedia: In response to David Bordwell. En: Confessions of an Aca-Fan. 2009. Disponible en: https://goo.gl/ T885vX

[15] Scolari C, Jiménez M, Guerrero M. Transmedia storytelling in Spain: Four fictions searching for their crossmedia destiny. Communication & Society. Spain: Navarra University; 2012;**25**(1):137-164. Disponible en: https://goo.gl/XgtzGa

[16] Rodríguez Ferrándiz R. El relato por otros medios: ¿un giro transmediático? Cuadernos de Información y Comunicación. 2014;**19**:19-37. Disponible en: https:// goo.gl/MesyHJ

[17] Rodríguez Ferrándiz R, Ortiz Gordo F, Sáez Núñez V. Contenidos transmedia de las teleseries españolas: clasificación, análisis y panorama

en 2013. Communications Society. 2014;**27**(4):73-94. Disponible en https:// goo.gl/aq5X4z

[18] Harvey CB. Crossmedia cross-stitch: Spinoff stories as transmedial and intramedial suture. In: En II, Scolari CA, editors. Crossmedia Innovations: Texts, Markets, Institutions. Frankfurt, Germany: Peter Lang; 2012. pp. 61-75

[19] Interview: 'Black Mirror' Charlie Brooker y Annabelle Jones by Fotogramas, Spain. https://www. fotogramas.es/noticias-cine/a25913946/ black-mirror-videojuego-charliebrooker-bandersnatch/

[20] Martínez-Cano FJ, Ivars-Nicolás B. Redes sociales, tecnologías digitales y narrativas interactivas en la sociedad de la información. New York: McGraw Hill; 2019

[21] Veale M. Remember Everyone Quickly Speculating Whether Black Mirror: Bandersnatch was a Data Mining Experiment. Twitter; 2019

[22] Handler-Miller C. Digital Storytelling: A Creator's Guide to Interactive Entertainment. New York: Focal Press; 2008

**23**

Section 3

Innovation in Transmedia

Section 3
