EXCLUSION AND IDENTITY IN CONTEMPORARY NOVEL FEMALE
Maria Elena Del Valle eae.academia.edu
EXCLUSION AND IDENTITY IN CONTEMPORARY NOVEL FEMALE
In Proceedings of the Interactive Narratives, New Media & Social Engagement International Conference. Eds. Hudson Moura, Ricardo Sternberg, Regina Cunha, Cecília Queiroz, and Martin Zeilinger. ISBN: 978-0-9939520-0-5 Changes in business and social environments have led society towards a complex landscape in which the relationship between mainstream media and participatory culture is completely changed, with a consequential blurring of boundaries between public and virtual space. As audience media habits are changing, a digital vision of reality is rising and engagement practices are evolving. As a consequence, there is the need for a new design methodology based on different skills working together. It is then necessary to adopt a disruptive approach to overcome the contemporary complexity, assuming storytelling activities, narrative practice and relationships among people as driving force for innovation. The paper describes the cases of Imagine Milan (2009-2012) and Plug Social TV (2013- ongoing), in which we tested listening and expressive tools, and communication strategies in order to activate a dialogue among communities. On the one hand, there is the aim of experiencing audiovisual languages through different narrative formats. On the other hand, we explored the use of stories in a collaborative process, spreading the narrative worlds across different channels. The aim of this paper is to describe our design approach, merging together tools and skills from different areas: communication design strategies as participative methods are linked to co-design actions; branding strategies, coming from the advertising field, as tools for identity development; audiovisual language considered as a cultural interface for listening to reality; transmedia practice as cultural paradigm able to involve audience into meaning-making processes; ultimately, social media advocacy is used to build relationships between virtual and real communities.

ISBN: 978-0-9939520-0-5 2014 EBook Proceedings INTERACTIVE NARRATIVES, NEW MEDIA & SOCIAL ENGAGEMENT An interdisciplinary conference for researchers and practitioners. How has the digital screen changed our world in general and narrative and visual arts in particular is the broad focus of the second Department of Spanish and Portuguese at the University of Toronto and BRAFFTV Film and Media international Conference. We are interested, for instance, in the evolution of narrative practices from text-based literature to the advent of the digital revolution as storytelling moves from literacy to so-called post-literacy. The prevalence of new interactive digital narrative in all areas from games, to literature, to films, to video art has resulted in new forms of storytelling and, accordingly, provoked new practices of reading that transforms readers/viewers into active collaborators. We are interested in exploring transmedia, intermediality, the role of social media and digital globalization as well as narratives in games and graphic novels. Also, the impact of the digital screen on art and new exhibition practices. Physical public space is increasingly being substituted or augmented by virtual space through digital screens (e.g. video, film, computer). What effect do these new developments have on social space, seen here as encompassing both physical public spaces (streets, hotels, coffee shops) as well as virtual space (YouTube, Vine, Facebook, Twitter, Tumblr, Orkut, etc.)? How do these novel practices effect previously clearly demarcated frontiers between the public and the private? Throughout the world, from Brazil to Turkey to Canada, we have recently witness the influence of social media on political participation. How have these new platforms engendered innovative forms of expression? The Conference aims to bring together researchers, practitioners and theorists for a two-day conference at Victoria College at the University of Toronto on October 24-25. The presented papers will be evaluated for possible inclusion in a special issue of a journal on the proceedings. The following key topics/areas will be emphasized during the conference: 1. Intermediality, Transmedia and Remediation; 2. Expanded Cinema and Digital Screen Aesthetics; 3. Transnational Cinema and International Co-Productions; 4. Digital Animation and Games: Narrative and Interactivity; 5. Snack Media, Mobile Screens, Micro Movie, and Microblogging; 6. Social Media Engagement and New Technologies; 7. Hacktivism and Political Engagement; 8. Digital Art and Literature (eBooks, eReaders).

Changes in business and social environments have led society towards a complex landscape in which the relationship between mainstream media and participatory culture is completely changed, with a consequential blurring of boundaries between public and virtual space. As audience media habits are changing, a digital vision of reality is rising and engagement practices are evolving. As a consequence, there is the need for a new design methodology based on different skills working together. It is then necessary to adopt a disruptive approach to overcome the contemporary complexity, assuming storytelling activities, narrative practice and relationships among people as driving force for innovation. The paper describes the cases of Imagine Milan (2009-2012) and Plug Social TV (2013-ongoing), in which we tested listening and expressive tools, and communication strategies in order to activate a dialogue among communities. On the one hand, there is the aim of experiencing audiovisual languages through different narrative formats. On the other hand, we explored the use of stories in a collaborative process, spreading the narrative worlds across different channels. The aim of this paper is to describe our design approach, merging together tools and skills from different areas: communication design strategies as participative methods are linked to co-design actions; branding strategies, coming from the advertising field, as tools for identity development; audiovisual language considered as a cultural interface for listening to reality; transmedia practice as cultural paradigm able to involve audience into meaning-making processes; ultimately, social media advocacy is used to build relationships between virtual and real communities.

The study of transmedia in journalism is still evolving. Although news organizations around the world have been spreading stories through different and complementary platforms and screens, this does not necessarily constitute use of transmedia concepts. Usually, the same story is simply distributed across multiple screens. Transmedia news reporting, in our view, would involve expansion of content and engagement of the audience, instead of repetition and propagation. This article studies examples of possible applications of the transmedia concept to news report, by examining The Float Project (Flutuador), in Brazil and comparing it to a potential model of engagement, The Great British Property Scandal: Every Empty Counts (2012) in the UK. The theoretical framework is provided by Henry Jenkins (2006), Carlos Scolari (2009), Kevin Moloney (2011), Renira Gambaratto (2013) Alzamora and Tárcia (2012) and proposes an evolving analytical model as a methodology for understanding transmedia applied to news fea-tures. The study points to major investments in building potential transmedia news reports by Globo Networks and suggests the necessary involvement of other departments and institutions to achieve full engagement and social relevance, as occurred in the UK project.

This is the final program of BRAFFTV International Conference 2014 held at the University of Toronto from October 23rd to 25th with the focus on Interactive Narratives, New Media and Social Engagement. How has the digital screen changed our world in general and narrative and visual arts in particular? The second edition of the BRAFFTV International Conference was organized by the Department of Spanish and Portuguese at the University of Toronto and BRAFFTV – Brazilian Film & Television Festival of Toronto. The prevalence of new interactive digital narrative in all areas from games, to literature, to films, to video art has resulted in new forms of storytelling and, accordingly, provoked new practices of reading that transforms readers/viewers into active collaborators. Physical public space is increasingly being substituted or augmented by virtual space through digital screens (e.g. video, film, computer). What effect do these new developments have on social space, seen here as encompassing both physical public spaces (streets, hotels, coffee shops) as well as virtual space (YouTube, Vine, Facebook, Twitter, Tumblr, etc.)? How do these novel practices effect previously clearly demarcated frontiers between the public and the private? Throughout the world, from Brazil to Turkey to Canada, we have recently witness the influence of social media on political participation. How have these new platforms engendered innovative forms of expression?

"The present paper aims to track down the main digital systems into which archives of canonical texts have been remediated, with the purpose of differentiating between the mental representations drawn by different types of digital platform structures. Digitization has gained increasing international interest within cultural heritage institutions and digital humanities activities and the necessity of preserving valuable archive material, as well as making it accessible for readers and researchers, is indisputable. Digital archives textbooks and projects speak of a call for the rethinking of old material permitted by the new media. However, the capabilities of a digital archive to generate meaning from its items are still reduced; large amounts of literary source material are available for public use, but are looked at through the lens of an exhibit case, in spite of their intended interactivity and user participation. In distinct digital environments, source materials are brought up, appropriated and remixed by Facebook, Twitter, Youtube and blog users, integrating the archival fragments in a network of media combinations. Considering the intermedial configurations generated by these cultural practices, we will follow the case of Shakespeare’s texts, their virtual extensions being traced on three levels of production: publicly-funded (universities and cultural heritage institutions projects), private initiatives (publishing houses) and user shaped products. Between the top-down input of the databases and the dialogical digital storytelling environment, we will subsequently try to explore the archives’ affordances for interactivity. "