The aim of this course is for students to acquire knowledge about and understanding of storytelling in a mediatized culture, and how stories are produced and evolve in different media. Students also acquire skills in producing their own stories in different media, and gain knowledge and understanding of how those media inform how stories are, and can, be told.

In this course we study how stories travel across different media and what happens to a story when it adapted to a new medium. We also study how whole storyworlds emerge and evolve. We make use of contemporary theories to understand how stories are told in, and how they adapt to, a mediatized culture. We engage with theories on storytelling in a broad sense, and narrative theory tied to specific media, such as literature, film, graphic novels, audio and interactive media. We look at how different media express narrative structures differently and how a specific medium informs how the narrative is constructed. In addition, analyse how different media play with and problematize narration. In order to understand stories, we also read, watch, engage with a number of stories in different media, and analyse them. Students furthermore produce their own stories, using material and technology appropriate for their story. Students are invited to work with a selection of media, which will vary, e.g. audio, video, comics, interactive storytelling and escape rooms.

After completing the course, the student

1. is able to account for narrative structures and features in stories told in different media, with the point of departure in narrative and media theory (1)

2. can analyze stories in different media (2)

3. shows knowledge and understanding of contemporary theories of storytelling in a mediatized culture and how different narrations travel in and across different media (3)

4. displays practical and creative skills in telling their own stories in various media. (4).

The course’s pedagogy is based on active participation, and on combining theoretical study with practical and creative work. The learning activities are lectures, seminars, workshops and group work.

The course is assessed through 4 assignments: two written analytical assignments á 7,5 hp testing learning outcomes 1, 2 and 3, and two production assignments testing learning outcome 4.

• Abbott, Porter. The Cambridge lntroduction to Narrative. Cambridge: Cambridge University Press, 2001.

• Adaptation Studies: New Challenges, New Directions. Eds. Jørgen Bruhn, Anne Gjelsvik, Eirik Frisvold Hanssen. London: Bloomsbury, 2013. ch 4-5

• Austen, Jane. Pride and Prejudice. (any edition).

• Baker, Jo. Longbourn. London: Doubleday, 2013.

• Bordwell, David. Narration in the Fiction Film. Madison: University of Wisconsin Press, 1985 Ch 3-7

• Bourdieu, Pierre. ”The forms of Capital.” In Richardson, J., Handbook of Theory and Research for the Sociology of Education, Westport, CT: Greenwood. 1986. Ch 1.

• The Fan Fiction Studies Reader. Eds. Karen Hellekson and Kristina Busse. Iowa City, University of Iowa Press, 2014. Ch 1,3,8

• Fernandez-Vara, Clara. “Game Spaces Speak Volumes.” 2011. http://www.digra.org/wp-content/uploads/digital-library/Game-Spaces-Speak-Volumes.pdf

• Fielding, Helen. Bridget Jones’s Diary. London: Picador, 2014. (any edition).

• Grahame-Smith, Seth. Pride and Prejudice and Zombies: the Classic Regency Romance--Now with Ultraviolent Zombie Mayhem. Philadelphia: Quirk Books, 2009.

• Hutcheon, Linda. A Theory of Adaptation. New York: Routledge 2006.

• Jane Austen in Hollywood. Eds. Linda Troost and Sayre Greenfield. Lexington: University Press of Centucky, 2001. Ch 2, 4, 5, 6.

• Kolbas, Dean. Critical Theory and the Literary Canon. Westview Press, 2001. Ch 2-3

• Pride and Prejudice. Dir Joe Wright. 2005

• Pride and Prejudice. Dir Simon Langton. 1995

• Pride and Prejudice and Zombies. Dir. Burr Steers. 2016

• Storyworlds across media. Toward a Media-Conscious Narratology. Eds. Marie-Laure Ryan and Jan-Noel Thon. Lincoln, London: Universtiy of Nebraska Press, 2014. Ch 1, 12.

• World Building. Transmedia, Fans, Industries. Ed. Marta Boni. Amsterdam: Amsterdam University press, 2017.

• Aarseth, Espen. “Narrative Theory of Games,” 2012. http://dl.acm.org/citation.cfm?id=2282365

• Cohen, Paula Marantz. What Alice Knew. A most Curious Tale of Henry James & Jack the Ripper. Illinois: Sourcebooks Landmark, 2010.

• Frasca, Gonzalo. “Ludology Meets Narratology: Similitude and difference between (video)games and narrative” 1999. http:www.ludology.org/articles/ludology.htm

• Greonsteen, Thierry Comics and Narration. Jackson, MS: UP of Mississippi, 2013.

• Jenkins, Henry. ”Game Design as Narrative Architecture.” First person. New media as story, performance, and game. Ed. Noah Wardrip-Fruin and Pat Harrigan. 2003. Cambridge, Mass: MIT Press, 2003.

• Lowndes, Marie Belloc. The Lodger. Any edition.

• Moore, Alan and Eddie Campbell. From Hell: Being a Melodrama in Sixteen Parts. London: Knockabout Comics, 2000.

• Rubenhold, Hallie. The Five. The Untold Lives of the Women Killed by Jack the Ripper. Boston/New York: Houghton Mifflin Harcourt, 2019

• Sugden, Philip. The Complete History of Jack the Ripper. London: Robinson, 1994.

Additional texts may be included in the course.