Transmedia Storytelling Analysis

Paratexts play an essential role in transmedia storytelling. Jenkins has defined transmedia story as ‘unfolds across multiple media platforms, with each new text making a distinctive and valuable contribution to the whole’(2006: 95-96). He indicated a model, by which a complete story is spread evenly in between the separate transmedia elements. Thence, the narrative only develops through the understanding of the whole collection. Transmedia storytelling can be seen as a fundamental example of convergence culture, and offers a significant instance for adaptation theories. Being in cross-fields position, it is recognized new and complex story structure, and paradox of an author, and the influential role of the audiences.
Therefore, adaptation is too complex to define whether the focus is on context or strategy, on product or practice. In Adaptation Studies, it seems to have developed a comprehension that the concept ‘adaptation’ indicates to ‘filmic reimagining of literature, mainly novels but also other fiction with drama included as a potential source rather marginally in adaptation-focused discourse – for instance, by Roger Manvell (1979), Peter Reynolds (1993) or Linda Costanzo Cahir (2006)’(2005: 34).
One of the successful series which based on Sherlock Holmes is Sherlock (2010-) and it is highly impressed by audience for keeping as much as key trademarks and elements of the origins, and modernising them to perform in 21st century. Mark Gatiss
Yet, in adaptation studies, the connection between novels, TV series, films, and other textual features is unique for the originals are not finished. Thus, once the multi-forms of narrative spread out continually, those horizontal transmedia networks indeed provide new probabilities for discussion the processes of the