Universitat Internacional de Catalunya

Transmedia y Storytelling

Transmedia y Storytelling
Segundo semestre
Lengua de impartición principal: inglés


Concertar cita previa con la profesora por e-mail (igaravis@uic.es)


Transmedia storytelling (which implies the use of different media platforms to tell a story) is becoming an increasingly popular phenomenon in the current media landscape. In this course, students will learn to recognize transmedia storytelling tools and practices across different fields, from documentaries to marketing campaigns. Along with the foundations of a theoretical framework and the analysis of different case studies, students will also attend practical workshops, during which they will develop their own transmedia project.

Requisitos previos

Since this course is taught in English, students are expected to have (at minimum) a B2 English level.


  • Students will understand the notion of “transmediality” and be familiar with its possible uses in different areas, including fiction, non-fiction and advertising.  
  • Students will be able to identify the different traits that characterize the current era of technological and cultural convergence, along with the way in which it has an impact on transmedia narratives. 
  • Students will learn to analyze the composition of transmedia narratives, as well as to recognize and use different transmedia storytelling tools, with the purpose of narrating a story across different media.
  • Students will be able to have a hands-on experience and to apply theoretical foundations through the development of their own transmedia project.
  • Collaborative Online International Learning (COIL) Project: By working together with students from the Institute of Art, Design and Technology (Ireland), UIC students will also gain a wider, international perspective on this media phenomenon.  


  • 02 - Capacidad de comprensión, aceptación de críticas y corrección de errores
  • 08 - Capacidad de análisis crítico, síntesis, concreción y abstracción
  • 11 - Capacidad para generar debate y reflexión
  • 13 - Capacidad de crear comunicación oral y escrita
  • 14 - Conocimiento y dominio de la retórica y oratoria para comunicar ideas propias
  • 16 - Capacidad de manejo, análisis y reflexión de los contenidos
  • 22 - Conocimiento y dominio de la distinción entre opinión e información/ registros coloquiales y cultos
  • 27 - Capacidad de adaptación a los distintos públicos y mercados audiovisuales
  • 31 - Capacidad de comprender los sistemas de financiación de los grupos y empresas de comunicación
  • 35 - Capacidad para contextualizar y analizar críticamente los productos de la industria audiovisual
  • 41 - Capacidad de conocimiento y funcionamiento de los distintos elementos agentes del sector audiovisual
  • 49 - Capacidad para escribir con fluidez textos, escaletas o guiones
  • 53 - Capacidad lingüística en catalán, castellano e inglés

Resultados de aprendizaje

By the end of the semester, students will have reflected on and drawn their own conclusions regarding the notion of “transmediality”. This will enable them to establish connections between the traits of the current era of media convergence and new forms of storytelling. Not only will they have acquired critical capacities to analyze these types of media narratives in various fields; they will have also learned to identify platforms and tools that can be used in their development. Finally, by creating their own transmedia project, students will be able to put into practice the theoretical foundations presented in class.


1. Introduction: Storytelling Across Media

2. Convergence Culture and Transmedia Practices

3. Audience Engagement and Participatory Culture

4. Producing and Developing Transmedia Narratives: The Transmedia Bible

5. Transmedia Strategies and their Application in Different Fields

     5.1. Transmedia Storytelling in Non-Fiction Narratives

     5.2. Transmedia Storytelling in Fiction Narratives

Metodología y actividades formativas

Modalidad totalmente presencial en el aula

Applied theory sessions, which will combine lectures (1 ECTS) with focused praxis exercises (1 ECTS), including the analysis of case studies.                                                                                  

Practical workshops (1 ECTS) under the teacher’s supervision, where students will develop both their final group project and their COIL project. Students are also expected to work on and complete their projects during non-lective hours. 

This is a practice-oriented module, where students will have to develop two main projects: 

  • Collaborative Online International Learning (COIL) Project. UIC students will work with students from the Institute of Art, Design and Technology (Ireland), developing a project for an international transmedia documentary.
  • Final Transmedia Project. Throughout the whole semester, students will work in small groups to develop a specific kind of transmedia project, which must be chosen from the following list: 
    1. Non-fiction: A marketing / advertising transmedia campaign.
    2. Non-fiction: Other types of non-fiction narratives (like a museum exhibit).
    3. Fiction: A transmedia expansion within an existing narrative universe.
    4. Fiction: An organic transmedia project, designed from scratch. 
    5. 4th year UIC students can also create a transmedia project for their TFG.
Clases Magistrales. En las clases magistrales, el profesor, no sólo transmite contenidos o conocimientos, sino también, y sobre todo, actitudes, motivación, aptitudes, valores, etc. También facilita que los asistentes puedan manifestar sus opiniones y sus argumentos frente al resto de estudiantes.
Focused Praxis. Entrega periódica de ejercicios para aprender la teoría a través de la práctica. Cada ejercicio irá destinado a adquirir conocimientos muy definidos y adaptados a las circunstancias.
Taller. Espacio de trabajo eminentemente práctico, en el que se adquieren competencias pertenecientes a materias prácticas o también teóricas (capacidades intelectuales, lógicas, críticas, de aprendizaje intelectual, estudio, citación, etc.).

Sistemas y criterios de evaluación

Modalidad totalmente presencial en el aula

First assessment (May 2022)

  • 50 % Final transmedia project. The evaluation of this project will be continuous throughout the semester.
  • 40 % COIL project (60% group presentation; 40% individual essay).
  • 10 % Class attendance and participation.   

Second assessment (June 2022)

  • 100 % Individual transmedia project. 

Bibliografía y recursos


1. Theoretical bibliography

DELWICHE, Aaron & JACOBS HENDERSON, Jennifer (2012). "Introduction: What is Participatory Culture?", The Participatory Cultures Handbook, Taylor and Francis Group.  

JENKINS, Henry (2003). "Transmedia Storytelling: Moving characters from books to films to video games can make them stronger and more compelling." MIT Technology Review, Jan. 15th 2003.  Link: http://www.technologyreview.com/news/401760/transmedia-storytelling/

JENKINS, Henry (2006). Convergence Culture: Where Old and New Media Collide. New York: New York University Press. Required reading from this book: "Introduction. Worship at the Altar of Convergence: A New Paradigm for Understanding Media Change." (pp. 13-34).

JENKINS, Henry (2007). "Transmedia Storytelling 101." Confessions of an Aca-Fan, The Official Weblog of Henry Jenkins, March 22nd 2007. Link: http://henryjenkins.org/2007/03/transmedia_storytelling_101.html

JENKINS, Henry (2011). "Transmedia Storytelling 102: Further Reflections." Confessions of an Aca-Fan, The Official Weblog of Henry Jenkins, August 1st 2011. Link:  http://henryjenkins.org/2011/08/defining_transmedia_further_re.html

JENKINS, Henry (2011). "Seven Myths About Transmedia Storytelling Debunked." April 8th 2011. Link:  http://www.fastcompany.com/1745746/seven-myths-about-transmedia-storytelling-debunked

GAMBARATO, Renira R. (2013). "Transmedia Project Design: Theoretical and Analytical Considerations", Baltic Screen Media Review, Vol. 1, pp. 80-100.

VAN DIJCK, José (2009). "Users like you? Theorizing agency in user-generated content", Media, Culture & Society, Vol. 31 (1), pp. 41-58.

2. Pratice-oriented Bibliography

BERNARDO, Nuno. How to Pitch and Prepare a Successful Funding Application for a Transmedia Project. PDF uploaded to the module's Moodle (intranet).



BERNARDO, Nuno (2011). The Producers Guide to Transmedia: How to Develop, Fund, Produce and Distribute Compelling Stories across Multiple Platforms. London: CR Entertainment Ltd.

EVANS,  Elizabeth (2011). Transmedia Television: Audiences, New Media, and Daily Life.  New York: Routledge.

JENKINS, Henry; FORD, Sam; GREEN, Joshua (2013).  Spreadable Media: Creating Value and Meaning in a Networked Culture, New York University Press.

PHILLIPS, Andrea (2012). A Creator’s Guide to Transmedia Storytelling: How to Captivate and Engage Audiences Across Multiple Platforms. New York: McGraw-Hill.

PLEWE, Christoph & FÜRSICH, Elfriede (2018). "Are Newsgames Better Journalism?", Journalism Studies, 19:16, 2470-2487. 

PRATTEN, Robert (2011). Getting Started with Transmedia Storytelling: A Practical Guide for Beginners. Link: http://talkingobjects.files.wordpress.com/2012/01/book-by-robert-pratten.pdf

RENÓ, Denis; CAMPALANS, Carolina; RUIZ, Sandra y GOSCIOLA, Vicente (eds.) (2014). Periodismo Transmedia: Miradas Múltiples. Barcelona: Editorial UOC; Barranquilla: Universidad del Rosario.

RYAN, Marie-Laure (2004). Narrative across Media: The Language of Storytelling. Lincoln: University of Nebraska Press.

SCOLARI, Carlos Alberto (2009). “Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Production.” International Journal of Communication, Vol. 3 (2009), pp. 586-606. Link: http://ijoc.org/index.php/ijoc/article/view/477

SCOLARI, Carlos Alberto (2013). Narrativas transmedia. Bilbao: Deusto.