Some thoughts on the business model of Argentinian transmedia fiction Según Roxi in a convergent scenario
The current scenario of convergence with multiple platforms allows the flowering of new ways of telling stories such as transmedia fiction narrative. Argentina, still does not present a considerable number of this type of fictional productions. This article analyzes the business model of national tr...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba
2019
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/toma1/article/view/26202 |
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I10-R367-article-26202 |
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I10-R367-article-262022020-11-01T03:51:26Z Some thoughts on the business model of Argentinian transmedia fiction Según Roxi in a convergent scenario Una reflexión acerca del modelo de negocio de la ficción transmedia argentina Según Roxi en un escenario convergente Arduini Amaya, Claudia Chantal transmedia fiction Argentina business models platforms transmedia ficción Argentina modelos de negocio plataformas The current scenario of convergence with multiple platforms allows the flowering of new ways of telling stories such as transmedia fiction narrative. Argentina, still does not present a considerable number of this type of fictional productions. This article analyzes the business model of national transmedia fiction According to Roxi produced by La Maldita Entertainment. We start from the idea that developing a transmedia fiction project is expensive given the remarkable number of formats in which it distributes its history. Consequently, a medium producer such as that of Roxi will need to combine different financing and marketing methods that allow it, on the one hand, to sustain the transmedia universe and, on the other, make it economically profitable. Throughout the article it was possible to confirm our initial hypothesis by using qualitative techniques such as description, in-depth interviews with Dolores Crivocapich (production assistant at La Maldita Entertainment) and Julieta Otero (one of the authors of the fiction) and the interpretation of the data collected. El actual escenario de convergencia con múltiples plataformas permite el florecimiento de nuevas maneras de contar historias como lo es la narrativa de ficción transmedia. Argentina, aún no presenta un considerable número de este tipo de producciones ficcionales. El presente artículo analiza el modelo de negocio de la ficción transmedia nacional Según Roxi producida por La Maldita Entertainment. Partimos de la idea de que desarrollar un proyecto transmedia de ficción es costoso dada la notable cantidad de formatos en los que distribuye su historia. Consecuentemente, una mediana productora como la de Según Roxi necesitará combinar diferentes modos de financiamiento y comercialización que le permitan, por un lado, sustentar el universo transmedia y por otro, hacerlo redituable económicamente. A lo largo del artículo fue posible confirmar nuestra hipótesis inicial mediante el uso de técnicas cualitativas como la descripción, las entrevistas en profundidad realizadas a Dolores Crivocapich (asistente de producción de La Maldita Entertainment) y a Julieta Otero (una de las autoras de la ficción) y la interpretación de los datos recabados. Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba 2019-11-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html https://revistas.unc.edu.ar/index.php/toma1/article/view/26202 10.55442/tomauno.n7.2019.26202 Toma Uno; No. 7 (2019): Audiovisual production and seriality; 173-187 TOMA UNO; Núm. 7 (2019): Producción audiovisual y serialidad; 173-187 2250-4524 2313-9692 10.55442/tomauno.n7.2019 spa https://revistas.unc.edu.ar/index.php/toma1/article/view/26202/29499 https://revistas.unc.edu.ar/index.php/toma1/article/view/26202/28018 http://creativecommons.org/licenses/by-nc-nd/2.5/ar/ |
| institution |
Universidad Nacional de Córdoba |
| institution_str |
I-10 |
| repository_str |
R-367 |
| container_title_str |
TOMA UNO |
| language |
Español |
| format |
Artículo revista |
| topic |
transmedia fiction Argentina business models platforms transmedia ficción Argentina modelos de negocio plataformas |
| spellingShingle |
transmedia fiction Argentina business models platforms transmedia ficción Argentina modelos de negocio plataformas Arduini Amaya, Claudia Chantal Some thoughts on the business model of Argentinian transmedia fiction Según Roxi in a convergent scenario |
| topic_facet |
transmedia fiction Argentina business models platforms transmedia ficción Argentina modelos de negocio plataformas |
| author |
Arduini Amaya, Claudia Chantal |
| author_facet |
Arduini Amaya, Claudia Chantal |
| author_sort |
Arduini Amaya, Claudia Chantal |
| title |
Some thoughts on the business model of Argentinian transmedia fiction Según Roxi in a convergent scenario |
| title_short |
Some thoughts on the business model of Argentinian transmedia fiction Según Roxi in a convergent scenario |
| title_full |
Some thoughts on the business model of Argentinian transmedia fiction Según Roxi in a convergent scenario |
| title_fullStr |
Some thoughts on the business model of Argentinian transmedia fiction Según Roxi in a convergent scenario |
| title_full_unstemmed |
Some thoughts on the business model of Argentinian transmedia fiction Según Roxi in a convergent scenario |
| title_sort |
some thoughts on the business model of argentinian transmedia fiction según roxi in a convergent scenario |
| description |
The current scenario of convergence with multiple platforms allows the flowering of new ways of telling stories such as transmedia fiction narrative. Argentina, still does not present a considerable number of this type of fictional productions.
This article analyzes the business model of national transmedia fiction According to Roxi produced by La Maldita Entertainment. We start from the idea that developing a transmedia fiction project is expensive given the remarkable number of formats in which it distributes its history. Consequently, a medium producer such as that of Roxi will need to combine different financing and marketing methods that allow it, on the one hand, to sustain the transmedia universe and, on the other, make it economically profitable.
Throughout the article it was possible to confirm our initial hypothesis by using qualitative techniques such as description, in-depth interviews with Dolores Crivocapich (production assistant at La Maldita Entertainment) and Julieta Otero (one of the authors of the fiction) and the interpretation of the data collected. |
| publisher |
Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba |
| publishDate |
2019 |
| url |
https://revistas.unc.edu.ar/index.php/toma1/article/view/26202 |
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2024-09-03T22:57:02Z |
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2024-09-03T22:57:02Z |
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