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Transmedia – a single experience that spans across multiple forms of media – is still a new media in the educational landscape and therefore may pose a challenge to educators wanting to create opportunities for interactive media communications in their classrooms. In this chapter, we share an instance in which a university professor introduced transmedia to support graduate student learning to encourage inquiry, critical thinking, problem solving, creativity, contemplation, and critical discourses. Further, we examine how two of the graduate students took their learning a step further by designing and creating a model transmedia lesson tailored for the 6th grade Social Studies classroom. This chapter provides a theoretical framework within which transmedia may be used: Learning and teaching as communicative actions theory – LTCA.

Storytelling is increasingly becoming a popular tool for promoting local fairs, festivals, culture and heritage. It is also being used to boost regional economies and revitalise them. Storytelling involves recounting past events and emphasising their relevance to the current situation. It is a powerful way to communicate shared experiences and values from one generation to the next. By engaging in storytelling, local or regional fairs or festivals are able to subsidise the regeneration of their economy. Furthermore, storytelling can help to bridge the gap between the past, present and future, providing a sense of permanency and belonging. Transmedia storytelling, often called transmedia narrative, is a technique for integrating current digital technology to present a tale or story experience across several platforms and formats.

Rajasthan is a vibrant, colourful and lively region of India. It comes out on top regarding holidays, traditions and culture. It sparkles brighter when its festivals are taking place. Due to its festive atmosphere, they have played a significant role in Rajasthani culture. The state of Rajasthan is known for its warm hospitality.

The current study's objective is to investigate various regional festivals in Rajasthan that have helped to develop regional identity through transmedia and to understand the connection between regional festivals' storytelling and tourism. Our findings indicated a positive relationship between regional or local festival narrative and travellers' inclination to visit or return. Additionally, the local community develops a positive sense of itself due to these festivals.

The chapters in this book focus on using different types of multimodal, multimedia, and transmedia technologies to create technology-rich learning environments that have the potential to enable higher levels of academic motivation, participation, and engagement. Developments in relatively low cost and abundant digital technologies, coupled with the improvements in contemporary learning theories and pedagogical practices, are quickly enhancing and transforming the way we teach and learn in the 21st century and changing our understanding of what it means to teach and learn in a highly web-based multimedia world. At the individual, group, and institutional levels, these technologies are being used in a variety of ways for a variety of purposes. In teaching and learning, they offer promising and innovative ways to create more interesting and enjoyable academic environments and offer more meaningful and authentic ways to better engage the senses of learners. Mayer (1997) states that multimedia-based teaching and learning offers many benefits to educators (e.g., a variety of instructional options, more effective learning, and more efficient use of instructor time especially for very large classes). This is based on the core multimedia principle posited by Mayer (2005): people tend to learn more deeply with both words and images than from words alone.

This chapter assesses how luxury travel imaginaries were modified in the aftermath of the outbreak of the coronavirus pandemic. Drawing on long-term fieldwork among travel influencers, the chapter presents their response strategies to the COVID-19 pandemic. Based on an analysis of evidence from participant observation in tourist sites, network visualisations, in-depth interviews and platform profiles, I trace the transformations luxury travel imaginaries have undergone since the beginning of 2020. Before this global crisis, travel influencers became new puissant players in the highly globalised tourism industry as they regularly received assignments from tourism boards and hotels. Although brand sponsorship was considered a substantial source of revenue for travel influencers, their collaborations in travel destinations and the monetisation of travel content on YouTube were further assets to secure a livelihood. The coronavirus outbreak, however, turned their life-worlds upside down. This ethnographic investigation identified three main responses of travel influencers to the current long-term crisis of tourism: (1) diversification of content creation and orientation towards other influencer genres, (2) support for local tourism organisations and online promotion of staycations and (3), finally, travel to tourist sites for circulating online content on safe travel standards. Digital platforms became a major arena where the future of tourism has been re-negotiated in the wake of the COVID-19 outbreak. The in-depth investigation suggests that travel influencers were in a position to create new powerful representations of luxury as safe travel since they acquired the skills to establish stable storyworlds for their travel experiences, which attracted the attention of large platform audiences.

A young man plucks information from digital data streams; a woman leaves digital clues about herself online – no screen, keyboard, or cable in sight. Characters found in TV series like Alphas and Heroes offer only two examples for a (fairly) new superpower that has been added to the catalogue of abilities for action heroes: that is, they have the power to manipulate digital information, and hacking into systems without using any kind of device.

This chapter analyses which visual mechanisms are used to convey these ‘new (media) superpowers’ by focusing primarily on Alphas and Heroes and considers them important predecessors for filmic examples. Such analysis will examine ideas about their transmedia extension as well as real-life developments in the field, such as specific hand movements that remind the viewer of the ‘Apple Swipe’ or social media trends. Combining theoretic approaches of cultural, television and media studies, this chapter discusses the ‘wireless’ connection between the new (super)heroes, their televised abilities, and the (online) audience, which also allows for a projection of (possible) future developments.

This chapter presents the many premises of this book. It first discusses the book’s central questions and lays out the design of the large multi-national and multi-method study, carried out across Northern Europe. It also places the book at the interdisciplinary space between contemporary innovation economics and cultural and social theory. It then discusses the complex set of social processes that have conditioned the phenomena that the book studies – how and why are the contemporary audiovisual media industries co-innovating and converging with other sectors including education, tourism and health care? Within this framework, it discusses the effects of the broader individualisation and mediatisation processes, of media convergence, of the emergence of cross-media or transmedia strategies, of the evolution of the service and experience economies and of the emergence of creative industries policy frameworks.

As the internet has evolved through the emergence of social media, so too have the communicative practices of The Archers listeners. Many of them now use Twitter to comment, discuss the show or participate in the omnibus episode ‘tweetalong’. Primarily, this chapter recognises the hundred-plus Twitter accounts which have been created by listeners to authentically roleplay characters, organisations, animals and even objects from the show. I frame these practices and ground the chapter in academic discourses of ‘fan fiction’. Reflecting on my own activity as @borsetpolice, I look at the role and place of this fan fiction from the individual practitioner’s perspective but also the wider listener base. In this chapter, I develop an argument that these practices contribute towards the community of listeners online, as well as the show itself. I explore the types of activities and accounts involved, where they often focus around major storylines, and then reflect in detail on the individual’s motivations and practice. I situate this in terms of an opportunity to become involved in an online community that aspires towards everyday rural ideals, and how this can be understood as a significant affective experience for listeners. This need for escapism into ‘banal’ worlds, the desire to participate, and the sense that fan fiction is a game that we take part in are also drawn out as significant.

This chapter establishes the conceptual and analytic framework for the book. It relates not only to much of the existing work in evolutionary and institutional economics, but also to work in cultural science and cultural semiotics domains as well as in media convergence and transmedia studies. The central concept it first deploys is ‘innovation systems’ as applied in national, regional, international and sectoral contexts. It then builds on the general theory of economic evolution by Kurt Dopfer and Jason Potts and reviews the tools this theory provides to carry out a meso-level analysis of industries co-innovating and converging. It then proposes a new concept – ‘cross-innovation’ – to refer to the emergence of new structures and ‘rules’ at the boundaries of existing industries.