Cover illustration from Star Wars and the History of Transmedia Storytelling, Sean A. Guynes and Dan Hassler-Forest eds (Amsterdam University Press, 2017).
Illustration by Zachariah Scott.
Series editors

Dan Hassler-Forest, Utrecht University, the Netherlands
Matt Hills, University of Aberystwyth, United Kingdom

Editorial Board

Henry Jenkins, University of Southern California, United States
William Uricchio, Massachusetts Institute of Technology, United States
Julia Knight, University of Sunderland, United Kingdom
John Storey, University of Sunderland, United Kingdom
Simone Murray, Monash University, Australia
Eckart Voigts, Braunschweig Institute of Technology, Germany
Timothy Corrigan, University of Pennsylvania, United States
Roberta Pearson, University of Nottingham, United Kingdom
Mark Bould, University of West of England, United Kingdom
Sherryl Vint, University of California, Riverside, United States



De onderstaande tekst is niet beschikbaar in het Nederlands en wordt in het Engels weergegeven.

This series provides a platform for cutting-edge research in the field of media studies, with a strong focus on the impact of digitization, globalization, and fan culture. The series is dedicated to publishing the highest-quality monographs (and exceptional edited collections) on the developing social, cultural, and economic practices surrounding media convergence and audience participation. The term ‘media convergence’ relates to the complex ways in which the production, distribution, and consumption of contemporary media are affected by digitization, while ‘participatory culture’ refers to the changing relationship between media producers and their audiences. Both developments have required substantial (and still ongoing) redefinitions of existing media platforms, as the rapid interactions between technological developments and socio-cultural practices continue to pose challenges as well as offer new opportunities for media scholars from a variety of academic disciplines.

Interdisciplinary by its very definition, the series will provide a publishing platform for international scholars doing new and critical research in relevant fields. While the main focus will be on contemporary media culture, the series is also open to research that focuses on the historical forebears of digital convergence culture, including histories of fandom, cross- and transmedia franchises, reception studies and audience ethnographies, and critical approaches to the culture industry and commodity culture.

The series revolves around the following key themes:

  • The effects of digitization and media convergence on global, national, and transnational popular culture(s)
  • Shifting cultural hierarchies in the media landscape
  • Cultures and histories of fandom in the context of globalization and digitization
  • Media archaeology and (pre-)histories of media transformations
  • New storytelling practices in the context of convergence culture, franchising, and world-building
  • The political economies of global digital culture