Contesting Canon: Authorship, Authority and Audiences in Transmedia Narrative Franchises.

本文将建立一个跨媒体作者身份的模型，说明作者权威和规范性是如何在多作者跨媒体叙事特许经营中由行业话语和粉丝评论构建的。之所以选择这个模型，是因为权威性和正统性问题在粉丝话语中很突出，四个案例研究将检验这个模型：迪士尼最近收购的《星星战争》;马丁的《冰与火之歌》和HBO电视台改编的《权力的游戏》; Sapkowski的《巫师》佐贺，它的CD Projekt的游戏改编和Netflix的电视改编;游戏工作室的《战锤40,000》特许经营权，基于epp桌面微型战争游戏。本文将分析Twitter和Reddit等平台上的粉丝话语，其中涉及到经典的问题方面和对特定作者声音的依恋，以及作者和知识产权所有者的粉丝意见对经典地位的贡献。相关的副文本（如行业新闻）也将被分析，以确定媒体行业如何构建经典（特别是关于知识产权所有者所扮演的角色），并确定跨媒体特许经营权的不同元素的作者如何通过促销话语来维护他们的作者权威。对每个系列元素的叙事分析将确定不同平台上故事世界之间的关系以及叙事连贯性的整体水平。对这些证据来源进行三角分析，将有助于更好地理解该行业邀请观众参与跨媒体故事世界的方式，以及观众对集中化作者权威的主张的反应。

The thesis will develop a model of transmedia authorship that illustrates how authorial authority and canonicity are constructed by both industry discourse and fan commentary within multiply-authored transmedia narrative franchises. Chosen because issues of authority and canonicity are prominent in fan discourses, four case studies will test this model: Disney's recently acquired 'Star Wars'; G.R.R. Martin's 'A Song of Ice and Fire' and its HBO TV adaptation 'Game of Thrones'; A. Sapkowski's 'The Witcher' saga, its CD Projekt's game adaptation and Netflix's TV adaptation; Games Workshop's 'Warhammer 40,000' franchise, based on the eponymous tabletop miniature wargame. The thesis will analyse fan discourses on platforms such as Twitter and Reddit with regard to perceived problematic aspects of canon and attachment to a specific authorial voice, and the ways in which fan opinions of authors and IP owners contributes to canon contestation. Relevant paratexts (e.g. the trade press) will also be analysed to ascertain how media industries construct canon (particularly with regard to the role that IP owners play) and to determine how the authors of the different elements of the transmedia franchise assert their authorial authority through promotional discourses. Narrative analysis of elements of each franchise will determine the relationship amongst storyworlds on different platforms and the overall level of narrative coherence. Triangulating these evidence sources will lead to a greater understanding of the ways in which the industry invites audiences to engage with transmedia storyworlds and how audiences react to assertations of centralised authorial authority.