Give me (Potter)more!

My favourite example of transmedia convergence is without a doubt, The Harry Potter franchise. Harry Potter began as novels by J.K. Rowling, expanded into a film series, video games, e-books, smart phone apps, and even a theme park – The Wizarding World of Harry Potter – which has just opened. The multiple entry points allow active fans to seek out, share content, and ultimately interact with it (Edwards, L 2012).

In 2012, Pottermore was launched. The digital publishing, e-commerce, entertainment and news company, allows fans to enjoy J.K Rowling’s new writing and immerse themselves deeper in the wizarding world. It is a successful example of transmedia storytelling as it expands our knowledge and deepens our experience of the Harry Potter story. Jenkins, H (2011) supports this as he explains Pottermore is “an extension of the information we have available about the world rather than as a replication of the story from one medium to another.” It nicely fits in with the elements of Jenkins’ Transmedia Storytelling 101, proving to be a unified and coordinated entertainment system in which fans can interact with and culturally connect with fellow fans.




Edwards, L.H 2012, ‘Transmedia Storytelling, Corporate Synergy, and Audience Expression, Global Media Journal, vol. 12, no.1, pp. 1-12, viewed 14 April 2016 <;

Jenkins, H, 2007, ‘Transmedia Storytelling 101’, Confessions of an Aca-Fan: The Official Weblog of Henry Jenkins, weblog post, 22 March , viewed 14 April 2016 <>

Jenkins, H, 2011, ‘Three Reasons Why Pottermore Matters…’, Confessions of an Aca-Fan: The Official Weblog of Henry Jenkins, weblog post, 24 June, viewed 14 April 2016 <>


Mitew, T, 2015, ‘Week 7: Transmedia narratives: from blockbusters to hybrid content’, Lecture/Prezi Presentation, BCM 112, University of Wollongong, viewed 14 April 2016


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