Медиафраншиза как тренд развития аудиовизуальной индустрии на примере высокодоходной кинопродукции

24. Long G. (2007) Transmedia Storytelling: Business, Aesthetics and Production at the Jim Henson Company. Cambridge: Massachusetts Institute of Technology.

25. Mckee R. (1997) Story: Style, Structure, Substance, and the Principles of Screenwriting. New York: HarperCollins Publishers.

26. Mikos L. (2016) Television drama series and transmedia storytelling in an era of convergence. Northern Lights: Film & Media Studies Yearbook 14 (1): 47-64.

27. Murray S. (2011) The Adaptation Industry: The Cultural Economy of Contemporary Literary Adaptation. New York: Routledge.

28. O'Flynn S. (2011) “Designing for the Interactant: How Interactivity Impacts on Adaptation.” In N.W Balestrini (ed.) Adaptation and American Studies: Perspectives on Research and Teaching, With an Afterword. Heidelberg: Universitatsverlag. Pp. 83-102.

29. Parker F (2009) Reinventing the Media Franchise: Context, Meaning and Discourse. Ottawa; Ontario:Carleton University.

30. Parody C. (2011) Adaptation Essay Prize Winner: Franchising/Adaptation. Adaptation 4 (2): 210-218.

31. Pearson R. (2010) Fandom in the Digital Era. Popular Communication 8 (1): 84-95.

32. Phillips A. (2012) A creator's guide to transmedia storytelling: How to captivate and engage audiences across multiple platforms. New York: McGraw-Hill.

33. Pratten R. (2015) Getting Started with Transmedia Storytelling. A practical guide for beginners. 2nd edition.

34. Ryan M.-L. (2004) “Digital Media”. In M.-L. Ryan (ed.) Narrative across Media: The Languages of Storytelling. Lincoln: University of Nebraska Press. Pp. 329-330.

35. Scolari C.A., Bertetti, P, Freeman, M. (2014) Conclusions: Transmedia Storytelling and Popular Cultures in the Twentieth Century”. In Transmedia Archaeology. Palgrave Macmillan.

36. Steinberg M. (2012) Anime's Media Mix: Franchising Toys and Characters in Japan. Minneapolis: University of Minnesota Press.

37. Thompson K. (2007). The Frodo Franchise: The Lord of the Rings and Modern Hollywood. Los Angeles: University of California Press.

38. Thon J.-N. (2016) Transmedial Narratology and Contemporary Media Culture. Lincoln: University of Nebraska Press.

39. Tuten T.L. (2008) Advertising 2.0: Social Media Marketing in a Web 2.0 World. Westport: Praeger Publishers.

40. Weaver T. (2013) Comics for Film, Games, and Animation: Using Comics to Construct Your Transmedia Storyworld. Focal Press.

41. Wolf M.J.P (2012) Building Imaginary Worlds: The Theory and History of SubCreation. New York: Routledge.

Notes

1. Jenkins H. (2003) Transmedia Storytelling. Moving characters from books to films to video games can make them stronger and more compelling. 15 January.

2. Jenkins H. (2007) Transmedia Storytelling 101. 21 March 21.

3. The merchant of venice meets The shiek of arabi, by Don Markstein (as “Om Markstein Sklom Stu”), in CAPA-alpha №71 (September 1970); archived at Toonopedia.

4. Vsemirnyy obzor industrii razvlecheniy i SMI: prognoz na 2018-2022 gody. Klyuchevye tendentsii mirovogo i rossiyskogo rynkov 2018 [World review of the entertainment industry and the media: forecast for 2018-2022. Key tendencies of the global and Russian markets 2018]. PWC. (In Russian).

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