Game Development Reference
In-Depth Information
38 Geraghty,
Living with Star Trek,
141.
39 Costikyan, “I Have No Words,”148, 205.
40 Ryan,
Narrative as Virtual Reality
.
41 Allan Cameron,
Modular Narratives in Contemporary Cinema
(New York: Palgrave
Macmillan, 2008), 10.
42 Hills,
Fan Cultures
, 137.
43 Salen and Zimmerman,
Rules of Play.
44 See Peters, “Peril-Sensitive Sunglasses”; also, Ian Bogost,
A Slow Year
(Louisville,
KY: Open Texture, 2010).
45 Bruns,
Blogs, Wikipedia, Second Life,
2.
46 Johnson,
Media Franchising,
115.
Chapter 6
1 Nicola Balkind,
Fan Phenomena: he Hunger Games
(Bristol, UK: Intellect Press,
2014).
2 Hills,
Fan Cultures
; Henry Jenkins,
Textual Poachers: Television Fans and
Participatory Culture
, 2nd ed. (New York: Routledge, 2012); Jones, “Sex Lives.”
3 Mittell, “Transmedia Storytelling.”
4 Ito,
Hanging Out
; Jenkins,
Convergence Culture
; Henry Jenkins, with Ravi
Purushotma, Margaret Weigel, Katie Clinton, and Alice J. Robison,
Confronting
the Challenges of Participatory Culture: Media Education for the 21st Century
(Cambridge, MA: MIT Press, 2009),
http://mitpress.mit.edu/sites/default/iles/
5 Paul Booth, “Augmenting Fan/Academic Dialogue: New Directions in Fan
Research,”
Journal of Fandom Studies
1, no. 2 (2013); Booth,
Playing Fans
.
6 See obsession_inc, “Airmational Fandom vs. Transformational Fandom,” June
01, 2009 (accessed August 21, 2013),
http://obsession-inc.dreamwidth.org/82589.
html;
also, Scott, “
Battlestar Galactica
”; Scott, “Who's Steering the Mothership?”;
Louisa E. Stein and Kristina Busse, “Introduction: he Literary, Televisual and
Digital Adventures of the Beloved Detective,” in
Sherlock and Transmedia Fandom
,
eds. Louisa Ellen Stein and Kristina Busse (Jeferson, NC: McFarland, 2012), 5.
7 Stein and Busse, “Introduction,” 15.
8 V. Arrow,
he Panem Companion: An Unoicial Guide to Suzanne Collins' Hunger
Games, From Mellark Bakery to Mockingjays
(Dallas, TX: Benbella Books, 2012);
Balkind,
Fan Phenomena
.
9 Jen Scott Curwood, “
he Hunger Games
: Literature, Literacy, and Online Ainity
Spaces,”
Language Arts
90, no. 6 (2013): 417.
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