Cross-Media Studies

Durante casi una década las narrativas transmediáticas han formado parte de la agenda de los estudios de medios, con frecuencia desde perspectivas económicas y sociológicas, alejadas de cualquier análisis textual de la materia. Este artículo, basado en la tradición semiótica y narratológica, analiza cuatro producciones transmediáticas de ficción producidas en España: Las tres mellizas, Infidels, Serrallonga y Águila Roja. Tras una primera parte dedicada al corpus teórico del trabajo, las tres secciones siguientes están centradas ofrecen una primera exploración de un panorama desigual, necesitado de nuevos conceptos y taxonomías que ayuden a una mayor comprensión del fenómeno transmediático.

This article addresses the 'wicked' problems met by contemporary public service media institutions: to address the fragmentation of audiences across platforms; to have a positive impact on civil society and societal coherence; to facilitate cultural diversity; and to work with private creative industries and facilitate their growth. These objectives can be reduced to a conflict in producing both public and private value. In this article, we build on the combination of innovation systems theory and public value theory to investigate the interrelationships between the production of these different forms of value. Our case study is Estonia's national pre-selection competition for the Eurovision Song Contest, which is innovative in terms of its cross-media framing and its approach to working with private partners to facilitate the development of the Estonian popular music system. Value creation as a contemporary 'wicked' problem for PSM Much in Western thought starts with Aristotle. If we study how media generate value and what this 'value' is like, we could start again with Aristotle and his distinction between 'use value' and 'exchange value' (laid out in Politics). While later theorists updated the analysis of value generation with the evolution of market capitalism, this basic original distinction may have value of its own for distinguishing the functions of public and private media. Public service is aimed at generating 'use value' for a variety of societal agents. In contrast, private enterprises that operate in markets aim at generating exchange value for the commodities they produce. These concepts are not mutually exclusive: media markets and information goods are classically characterised by complex ways in which surplus value (Marx, 1951) is generated out of the publically available use value or 'symbolic value' (Bolin, 2011) by private media industries. Yet, the challenge of network era media markets is the further blurring of boundaries between the generation of 'public value' (see further articulations below) and ways to obtain private assets ('private value'). The operations of contemporary 'value networks' (Bovet and Martha, 2000) of media markets are complicated by some activities conducted in these networks being effectively non-market activities, such as fan labour where participants contribute work without motivation to turn the results into exchange value (e.g. Von Hippel, 2005). This relates to the observation by Hardt and Negri (2004) that value is increasingly created in collaborative