This chapter provides examples of basic analyses of macro and micro levels of intermediality in social media: YouTube entertainment, an example of a multi-layered social media practice, and GIFs, which derive from other media and migrate across different platforms on the internet. Apart from media combination and integration, even the two aspects of media transformation, transmediation and representation, are also persistent intermedial processes in social media practice as content creation. Social media entertainment stages the body, voice and personality, or persona, of a content creator outside the traditional media and acknowledges, or even addresses, the social community directly. In the authenticity discourse of social media entertainment, YouTubers pose themselves as an alternative to traditional media. The chapter looks at the Let’s Play genre and how the YouTuber PewDiePie engages with the social media entertainment dimensions and with his audiences.

This chapter explores transmediation between qualified media types. It discusses the adaptation of a literary canonical work, Joe Wright’s 2005 novel-to-film adaptation of Jane Austen’s novel Pride and Prejudice a novel that repeatedly has been adapted into new contexts and audiences. The qualified medium of opera implies certain conventions but also certain limitations of space, time and voice. The natural venue for experiencing an opera is the stage. An experienced opera or musical librettist will consider where to put such music highlights when writing the text. Both drama text and opera score are a set of directions fixed in a script but resulting in different kinds of performances. It has been our aim to demonstrate in specific analysis the very abstract idea that all media transformation is interplay or a negotiation between transmediality and medium specificity.

This chapter explores different relations of truthfulness and discusses the truth claims of the different qualified media types. Truthfulness is a transmedial notion and when we speak of truth in different contexts, we refer to different kinds of knowledge. Truth, facts and authenticity are often used in everyday discourse as part of apparently clear-cut binaries like truth–lie, authentic–fake, fact–fiction. The truth claims of media can be employed in communication to produce a perception of truthfulness. As media products can be truthful both in relation to external perception or inner experience, another way to look at truth claims is to divide them into objective and subjective truth claims. The chapter discusses how different forms of disinformation draw on the truth claims of news media and construct a perception of truthfulness that is based more on internal coherence than on events that actually have taken place.

This article studies the transmedial process from the painting Nighthawks (1942) by Edward Hopper (the source medium) to the poem "Nighthawks" (2000) by Anne Carson and to two art GIFs created using the painting as a source (the target media). GIF is a file format that allows movement and an art GIF is a GIF which, in different ways, relates to an existing painting. The investigation is focused on repetition, which manifests in all three media products, and its effect on subjective time. Repetition can have different temporal effects in different media and can therefore be affected by transmediation. In literature, for example, repetition is often a way of slowing or stopping the temporal flow whereas, in painting, it can function both as a time stopper and as an index of movement and thereby temporal flow. Repetition in art GIFs is complex. Even though it represents the desire to add movement (and thus temporality) to a static image, it also halts time by not moving beyond the reiterated sequence it represents.

I följande artikel kommer jag att analysera bilderboken En stackars liten haj (2014) av Mårten Sandén och Per Gustavsson ur ett par olika perspektiv, för att undersöka hur den gestaltar ett litet barns bearbetning av rädsla med hjälp av fantasin, och hur den, både verbalt och med hjälp av bilderna, kan få sina unga läsare att identifiera sig med huvudpersonen, känna empati för honom och därmed själva gå stärkta ur läsupplevelsen. För att göra detta kommer jag bland annat att närmare studera hur ord och bild samverkar i boken samt de olika tolkningsnivåer och intertextuella relationer man kan finna i den.