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| Autore principale: | |
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| Natura: | Recurso digital |
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Zenodo
2020
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| Accesso online: | https://doi.org/10.5281/zenodo.17484668 |
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| _version_ | 1866901311749881856 |
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| author | Maximo, Rafael |
| author_facet | Maximo, Rafael |
| contents | <p>This essay explores how contemporary artists and entertainment brands no longer sell isolated songs or moments, but engineer entire “worlds” for audiences to inhabit — visual language, narrative mythology, live experience, merch, symbols, in-group rituals, and ongoing storylines across platforms. I describe this as a multiverse logic: fans are invited into an expandable narrative environment where music is one access point, not the whole product. Drawing on examples from pop music, fandom communities, experiential concerts, and cinematic/brand-style storytelling, I show how transmedia world-building turns audience attachment into a durable cultural economy. The argument is that this is not just marketing; it’s identity infrastructure. Fans aren’t just consuming content, they’re joining a fictional/affective ecosystem in which belonging, status, and participation themselves become monetizable. I close by suggesting that this shift changes how we should measure “success” in the music industry: not just streams, but depth of the inhabitable universe.</p> |
| format | Recurso digital |
| id | zenodo_https___doi_org_10_5281_zenodo_17484668 |
| institution | Zenodo |
| language | |
| publishDate | 2020 |
| publisher | Zenodo |
| record_format | zenodo |
| spellingShingle | The Musical Multiverse: Transmedia Building Universes Maximo, Rafael <p>This essay explores how contemporary artists and entertainment brands no longer sell isolated songs or moments, but engineer entire “worlds” for audiences to inhabit — visual language, narrative mythology, live experience, merch, symbols, in-group rituals, and ongoing storylines across platforms. I describe this as a multiverse logic: fans are invited into an expandable narrative environment where music is one access point, not the whole product. Drawing on examples from pop music, fandom communities, experiential concerts, and cinematic/brand-style storytelling, I show how transmedia world-building turns audience attachment into a durable cultural economy. The argument is that this is not just marketing; it’s identity infrastructure. Fans aren’t just consuming content, they’re joining a fictional/affective ecosystem in which belonging, status, and participation themselves become monetizable. I close by suggesting that this shift changes how we should measure “success” in the music industry: not just streams, but depth of the inhabitable universe.</p> |
| title | The Musical Multiverse: Transmedia Building Universes |
| url | https://doi.org/10.5281/zenodo.17484668 |