{"id":146,"date":"2017-11-27T08:19:06","date_gmt":"2017-11-27T08:19:06","guid":{"rendered":"http:\/\/social-media-strategy.aula.uoc.edu\/storytelling\/4-el-storytelling-no-lo-es-todo\/"},"modified":"2021-03-04T09:04:10","modified_gmt":"2021-03-04T09:04:10","slug":"4-lstorytelling-no-ho-es-tot","status":"publish","type":"page","link":"http:\/\/social-media-strategy.aula.uoc.edu\/storytelling\/4-lstorytelling-no-ho-es-tot\/","title":{"rendered":"Refer\u00e8ncies"},"content":{"rendered":"

General<\/strong><\/p>\n

Herrera, Raquel (2015). \u00c9rase unas veces. Filiaciones narrativas en el arte digital<\/em>. Barcelona: Editorial UOC.<\/p>\n

1. De l’storytelling<\/em> a l’storydoing<\/em><\/strong><\/p>\n

1.1. Pensar hist\u00f2ries: mimesi, diegesi i els principis aristot\u00e8lics<\/strong><\/p>\n

An\u00f2nim (2015). Las mil y una noches. El manga<\/em>.\u00a0 Barcelona: Herder Editorial.<\/p>\n

Arist\u00f2til (2019). Po\u00e8tica<\/em>. Barcelona: Bernat Metge.<\/p>\n

Columbia Digital Storytelling Lab (2018). Sherlock Holmes and the Internet of Things<\/em>. <http:\/\/sherlockholmes.io\/welcome\/<\/a>>.<\/p>\n

Elliott, Eddie (2012). Cinematic visualizations<\/em>. <https:\/\/www.eddie.io\/lists\/cine_viz.html<\/a>>.<\/p>\n

H-57 Milan (2013). Life in five seconds: over 200 stories for those with no time to waste<\/em>. Londres: Quercus Books.<\/p>\n

Jameson, Daphne A. \u00abNarrative discourse and management action\u00bb. Journal of Business Communication,<\/em> n\u00fam.<\/em>\u00a038(4), p\u00e0g. 476-511). DOI: 10.1177\/002194360103800404.<\/p>\n

1.2. L’storytelling<\/em> com a eina de persuasi\u00f3 empresarial i pol\u00edtica<\/strong><\/p>\n

De la Moissonni\u00e8re, Soazig. Perfil oficial d’Instagram, 2020 <https:\/\/www.instagram.com\/soazigdelamoissonniere\/?hl=es<\/a>>.<\/p>\n

Macron, Emmanuel. Perfil oficial d’Instagram, 2020 <https:\/\/www.instagram.com\/emmanuelmacron\/?hl=es<\/a>>.<\/p>\n

Salmon, Christian (2020). La era del enfrentamiento: Del storyteling a la ausencia de relato<\/em>. Barcelona: Planeta.<\/p>\n

Salmon, Christian (2011). La estrategia de Sherezade. Apostillas a Storytelling<\/em>. Barcelona: Pen\u00ednsula.<\/p>\n

Salmon, Christian (2008). Storytelling. La m\u00e1quina de fabricar historias y formatear las mentes<\/em>. Barcelona: Pen\u00ednsula.<\/p>\n

1.3. Fer hist\u00f2ries: narratives com a pr\u00e0ctica<\/strong><\/p>\n

Columbia Digital Storytelling Lab. Sherlock Holmes and the Internet of Things<\/em>, 2015-18, <http:\/\/sherlockholmes.io\/welcome\/<\/a>>.<\/p>\n

Iternatura (2014). El grifo\u00a0de Canet<\/em>. <https:\/\/www.iternatura.es\/proyectos\/el-grifo-de-canet\/<\/a>>.<\/p>\n

Llorente y Cuenca (2017). Del storytelling al storydoing. Voces de 30 marcas sobre la emergencia<\/em>, Madrid. <https:\/\/ideas.llorenteycuenca.com\/wp-content\/uploads\/sites\/5\/2017\/10\/171019_DI_estudio_storydoing_esp.pdf<\/a>>.<\/p>\n

2. Formats narratius innovadors<\/strong><\/p>\n

2.1. L’univers de marca i les xarxes socials<\/strong><\/p>\n

Branfluence (13 de febrer de 2018).\u00a0\u00abLos arquetipos de marca. \u00bfQu\u00e9 son y cu\u00e1les hay?\u00bb.\u00a0<\/em><https:\/\/www.branfluence.com\/los-arquetipos-de-marca-branding\/<\/a>>.<\/p>\n

Ind\u00fastria Mexicana de Coca-Cola (2020). Canal oficial a YouTube. <https:\/\/www.youtube.com\/user\/cocacolademexico<\/a>>.<\/p>\n

Luz P\u00e9rez Baz (2015). \u00abLos 12 arquetipos de personalidad. \u00bfCu\u00e1l le va a tu marca?\u00bb.\u00a0Making LoveMarks.<\/em> <<\/em>https:\/\/www.makinglovemarks.es\/blog\/arquetipos-de-personalidad-de-marca\/<\/a>>.<\/p>\n

Suma Blog (5 de setembre de 2018).\u00a0\u00abEjemplos de c\u00f3mo contar el relato de una marca\u00bb. <https:\/\/summa.es\/blog\/storytelling-ejemplos-como-contar-relato-de-marca\/<\/a>>.<\/p>\n

2.2. L’obra transm\u00e8dia i les seves derivacions<\/strong><\/p>\n

CNX Cond\u00e9 Nast (2020). Perfil oficial d’Instagram. <https:\/\/www.instagram.com\/cnxcondenast\/<\/a>>.<\/p>\n

De la Fuente, Miguel\u00a0(17 de setembre de 2020).\u00a0\u00abNarraciones branded, guionizar el universo de una marca\u00bb. <http:\/\/comunicacio.blogs.uoc.edu\/branded-content\/<\/a>>.<\/p>\n

ECOS de Asia<\/em> (3 de juny de 2020). Compte oficial de Twitter. <https:\/\/twitter.com\/ecosdeasia\/status\/1268137558954967047?s=20<\/a>>.<\/p>\n

Ministerio del Tiempo<\/em> (6 de juny de 2020).\u00a0Compte oficial de Twitter. <https:\/\/twitter.com\/mdt_tve\/status\/1269029954672570369?s=20<\/a>>.<\/p>\n

Museo del Vestido, Madrid (3 de juny de 2020). Compte oficial de Twitter. <https:\/\/twitter.com\/museodeltraje\/status\/1268074744684916737?s=20<\/a>>.<\/p>\n

Scolari, Carlos (11 de gener de 2013). \u00abNarrativas transmedia. El libro\u00bb.<\/em>\u00a0<https:\/\/hipermediaciones.com\/2013\/01\/11\/narrativas-transmedia-el-libro\/<\/a>>.<\/p>\n

Wikipedia [en espanyol]. Entrada, \u00abNarrativa transmedia\u00bb<\/em>\u00a0(2020). <https:\/\/es.wikipedia.org\/wiki\/narrativa_transmedia<\/a>>.<\/p>\n

2.3. Funcionalitats narratives en xarxes socials<\/strong><\/p>\n

Ajuda de Google Ads. Sobre els formats d’anuncis de v\u00eddeo (2020). <https:\/\/support.google.com\/google-ads\/answer\/2375464?hl=es-419&_ga=2.150670966.1383773640.1602496568-1130096575.1602406905<\/a>>.<\/p>\n

Centre d’Assist\u00e8ncia de Pinterest. Anuncis de v\u00eddeo (2020). <https:\/\/help.pinterest.com\/es\/business\/article\/promoted-video<\/a>>.<\/p>\n

Facebook for Business. Business Help Center (2020). <https:\/\/www.facebook.com\/business\/help\/1263626780415224?id=802745156580214<\/a>>.<\/p>\n

Facebook Investor Relations (30 de juliol de 2020).\u00a0\u00abFacebook Reports Second Quarter 2020 Results\u00bb. <https:\/\/investor.fb.com\/investor-news\/press-release-details\/2020\/facebook-reports-second-quarter-2020-results\/default.aspx<\/a>>.<\/p>\n

Instagram Empresas (2020). <https:\/\/business.instagram.com\/?locale=es_es<\/a>>.<\/p>\n

Iqbal Mansoor (30 de juliol de 2020).\u00a0Twitter Revenue and Usage Statistics <\/em>(2020).\u00a0<https:\/\/www.businessofapps.com\/data\/twitter-statistics\/#1<\/a>>.<\/p>\n

Pinterest Newsroom\u00a0(31 de juliol de 2020).\u00a0\u00abPinterest tops 400 million monthly active users\u2014with Gen Z, men and Millennials driving growth\u00bb.\u00a0<\/em><https:\/\/newsroom.pinterest.com\/en\/post\/pinterest-tops-400-million-monthly-active-users-with-gen-z-men-and-millennials-driving-growth<\/a>>.<\/p>\n

Snapchat Business. Snapchat Ad Formats (2020). <https:\/\/forbusiness.snapchat.com\/advertising\/ad-formats<\/a>>.<\/p>\n

Snapchat Investor Relations (2020). <https:\/\/investor.snap.com\/overview\/default.aspxd<\/a>>.<\/p>\n

Spotify Advertising (2020). <https:\/\/ads.spotify.com\/en-us\/<\/a>>.<\/p>\n

Spotify Newsroom. Company Info (2020). <https:\/\/newsroom.spotify.com\/company-info\/<\/a>>.<\/p>\n

Tik Tok for Business (2020). <https:\/\/www.tiktok.com\/business\/es\/apps\/tiktok<\/a>>.<\/p>\n

Twitter Business. Creative Ad Specs (2020).<https:\/\/business.twitter.com\/en\/help\/campaign-setup\/advertiser-card-specifications.html<\/a>>.<\/p>\n

YouTube About. YouTube per a la premsa (2020). <https:\/\/www.cnbc.com\/2020\/08\/24\/tiktok-reveals-us-global-user-growth-numbers-for-first-time.html<\/a>>.<\/p>\n

3. Casos d’estudi sobre storytelling<\/em> i xarxes socials<\/strong><\/p>\n

3.1. La narrativa derivada en xarxes de #Luimelia<\/em><\/strong><\/p>\n

Antena 3. Amar es para siempre (<\/em>2020). <https:\/\/www.antena3.com\/series\/amar\/<\/a>>.<\/p>\n

Atresmedia. Perfil oficial d’Instagram d’Amelia Ledesma (2020). <https:\/\/www.instagram.com\/amelialedesmaof\/<\/a>>.<\/p>\n

Atresmedia. Perfil oficial d’Instagram de Luisita G\u00f3mez (2020). <https:\/\/www.instagram.com\/luisitagomezs\/<\/a>>.<\/p>\n

Atresplayer. Luimelia (<\/em>2020). <https:\/\/www.atresplayer.com\/series\/luimelia\/<\/a>>.<\/p>\n

ATRESplayer Premium. \u00abCap\u00edtulo 1: Luisita i Amelia-Avance\u00bb (19 de febrer de 2020). <https:\/\/www.youtube.com\/watch?v=wtteuqtwdc8<\/a>>.<\/p>\n

Such, Marina\u00a0(30 d’agost de 2020).\u00a0\u00abAs\u00ed hizo “#Luimelia” su parodia-homenaje a Amar es para siempre\u00bb.\u00a0\u00a0Fueradeseries<\/em>. <https:\/\/fueradeseries.com\/asi-hizo-luimelia-su-parodia-homenaje-a-amar-es-para-siempre-boicot-lurelia-3f4019f3cf6d-3f4019f3cf6d<\/a>>.<\/p>\n

3.2. La promoci\u00f3 hiperm\u00e8dia de La casa de papel<\/em> i Dark<\/em> a Netflix<\/strong><\/p>\n

Antena 3. La casa de papel (<\/em>2020). <https:\/\/www.antena3.com\/series\/casa-de-papel\/<\/a>>.<\/p>\n

Dark<\/em>. Perfil oficial d’Instagram (2020). <https:\/\/www.instagram.com\/darknetflix\/<\/a>>.<\/p>\n

Dark 1921<\/em>. Perfil oficial d’Instagram (2020). <https:\/\/www.instagram.com\/darknetflix1921\/<\/a>>.<\/p>\n

Fern\u00e1ndez, JuanMa (10 d’octubre de 2020). \u00ab\u00bfOriginal de Netflix? As\u00ed hace pasar muchas series como suyas\u00bb. <https:\/\/www.elespanol.com\/bluper\/noticias\/por-que-no-todas-series-netflix-son-originales<\/a>>.<\/p>\n

Iqbal, Mansoor (23 de juny de 2020).\u00a0\u00abNetflix Revenue and Usage Statistics\u00bb.<\/em>\u00a0<https:\/\/www.businessofapps.com\/data\/netflix-statistics<\/a>\/>.<\/p>\n

La casa de papel<\/em>. Perfil oficial d’Instagram (20 de febrer de 2020). <https:\/\/www.instagram.com\/p\/b8ywwkyl-xy\/?igshid=%C2%A0https:\/\/www.instagram.com\/p\/b9cvkhfflmr\/?igshid=6wrihnd2azsu<\/a>>.<\/p>\n

Netflix. P\u00e0gina web oficial de Dark (<\/em>2020). <https:\/\/dark.netflix.io\/en<\/a>>.<\/p>\n

Netflix Portugal. Perfil oficial d’Instagram (25 de juliol de 2019). <https:\/\/www.instagram.com\/p\/b0vk-ewgnjr\/<\/a>>.<\/p>\n

Netflix Portugal. Canal oficial a YouTube (4 d’agost de 2019). <https:\/\/www.youtube.com\/watch?v=zwx7veuuv_o<\/a>>.<\/p>\n

Sol\u00e0 Gimferrer, Pere (22 d’abril de 2020). \u00abNetflix informa \u201ca su manera\u201d de las audiencias de \u201cLa casa de papel\u201d\u00bb. La Vanguardia.<\/em>\u00a0<https:\/\/www.lavanguardia.com\/series\/netflix\/20200422\/48676427114\/la-casa-de-papel-temporada-4-netflix-audiencias.html<\/a>>.<\/p>\n

Taibo, Marieta\u00a0(6 de maig de 2020). \u00ab\u201dDark\u201d<\/em> es la mejor serie de Netflix seg\u00fan Rotten Tomatoes\u00bb.\u00a0Cosmopolitan.<\/em>\u00a0<https:\/\/www.cosmopolitan.com\/es\/famosos\/peliculas-series\/a32384836\/dark-mejor-serie-de-netflix-rotten-tomatoes\/<\/a>>.<\/p>\n

Wyche, Elbert\u00a0(5 de gener de 2018). \u00ab\u2019Dark\u2019 could be Netflix’s biggest European hit so far\u00bb. Screen Daily<\/em>. <https:\/\/www.screendaily.com\/news\/dark-could-be-netflixs-biggest-european-hit-so-far\/5125338.article<\/a>>.<\/p>\n

3.3. Relats #beautifulLGBTQ de Pantene a YouTube<\/strong><\/p>\n

Pantene. Perfil oficial d’Instagram (EUA, 2020).\u00a0\u00a0<<\/u>https:\/\/www.instagram.com\/pantene\/<\/a>>.<\/p>\n

Pantene\u00a0\u00a0(5 de desembre de 2019).\u00a0\u00abComing Home Should be #BeautifuLGBTQ\u00bb. Canal oficial a YouTube. <https:\/\/www.youtube.com\/watch?v=csjwzxtnlgw&t=6s<\/a>>.<\/p>\n

Pantene (5 de desembre de 2019).\u00a0\u00abComing home is\u00bb. Canal oficial a YouTube. <https:\/\/www.youtube.com\/results?search_query=pantene+coming+home+is<\/a>>.<\/p>\n

Pantene Llatinoam\u00e8rica (25 de juliol de 2020).\u00a0\u00abPantene Pride-Marcela – #ElAmorTieneMuchasFormulas\u00bb. Canal oficial a YouTube. <https:\/\/www.youtube.com\/watch?v=qqx45zky9lo<\/a>>.<\/p>\n

WPP\u00a0Grey \u00ab<\/em>Pantene Coming Home Should Be #BeautifuLGBTQ\u00bb<\/em>.<\u00a0https:\/\/www.wpp.com\/featured\/work\/grey-pantene-coming-home-should-be-beautifulgbtq<\/a>>.<\/p>\n

Altres refer\u00e8ncies<\/strong><\/p>\n

Bartual, Manuel (2020). Las mejores historias de Twitter en espa\u00f1ol<\/em>. \u00abTodo est\u00e1 bien\u00bb.\u00a0La Hiloteca<\/em>. <https:\/\/lahiloteca.com\/hilo\/todo-esta-bien\/<\/a>>.<\/p>\n

Fort, Cristina\u00a0(11 de maig de 2020).\u00a0Ficciones (y posficciones) en la era de COVID-19.<\/em>\u00a0<http:\/\/comunicacio.blogs.uoc.edu\/ficciones-posficciones-covid-19\/<\/a>>.<\/p>\n

Freire S\u00e1nchez, Alfonso (2017). \u00bfC\u00f3mo crear un storytelling de marca? De la teor\u00eda a la pr\u00e1ctica profesional<\/em>. Barcelona: UOC.<\/p>\n

Guerrero, Joan Antonio\u00a0(23 de gener de 2020). Entrevista a Manuel Bartual. <https:\/\/www.uoc.edu\/portal\/es\/news\/entrevistes\/2020\/002-manuel-bartual.html<\/a>>.<\/p>\n","protected":false},"excerpt":{"rendered":"

General Herrera, Raquel (2015). \u00c9rase unas veces. Filiaciones narrativas en el arte digital. Barcelona: Editorial UOC. 1. De l’storytelling a l’storydoing 1.1. Pensar hist\u00f2ries: mimesi, diegesi i els principis aristot\u00e8lics An\u00f2nim (2015). Las mil y una noches. El manga.\u00a0 Barcelona: Herder Editorial. Arist\u00f2til (2019). Po\u00e8tica. Barcelona: Bernat Metge. Columbia Digital Storytelling Lab (2018). Sherlock Holmes […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"acf":[],"_links":{"self":[{"href":"http:\/\/social-media-strategy.aula.uoc.edu\/storytelling\/wp-json\/wp\/v2\/pages\/146"}],"collection":[{"href":"http:\/\/social-media-strategy.aula.uoc.edu\/storytelling\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/social-media-strategy.aula.uoc.edu\/storytelling\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/social-media-strategy.aula.uoc.edu\/storytelling\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/social-media-strategy.aula.uoc.edu\/storytelling\/wp-json\/wp\/v2\/comments?post=146"}],"version-history":[{"count":8,"href":"http:\/\/social-media-strategy.aula.uoc.edu\/storytelling\/wp-json\/wp\/v2\/pages\/146\/revisions"}],"predecessor-version":[{"id":351,"href":"http:\/\/social-media-strategy.aula.uoc.edu\/storytelling\/wp-json\/wp\/v2\/pages\/146\/revisions\/351"}],"wp:attachment":[{"href":"http:\/\/social-media-strategy.aula.uoc.edu\/storytelling\/wp-json\/wp\/v2\/media?parent=146"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}