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跨媒介叙事理念已从娱乐产业延伸至以博物馆为代表的遗产阐释领域。学界对博物馆跨媒介叙事的研究可分为三类：将博物馆展览本身视为跨媒介叙事加以分析；将博物馆视为文化产品，通过跨媒介手段进行品牌塑造；将博物馆定位为文化跨媒介传播中的关键环节。基于第三类研究视角，审视当前的博物馆跨媒介研究与实践，可见存在对跨媒介概念的误读、核心故事的缺乏以及媒介内容“互文性”不足三大问题。针对上述问题，可构建适用于文化传播领域的跨媒介叙事设计模型。该模型以核心故事为中心构建故事世界，搭建其与真实世界的连接接口，同时选择匹配的媒介平台，规划观众的参与程度及叙事周期，在文化传播语境下探索超越商业逻辑的跨媒介叙事重构路径。
Abstract：Originally developed in the entertainment industry, transmedia storytelling has increasingly been adopted in the field of heritage interpretation, with museums as its leading institutions. Existing scholarship tends to take three main approaches: treating exhibitions as transmedia storytelling systems, applying transmedia strategies to museum branding, and positioning museums as key nodes in transmedia cultural communication. From this third perspective, this article identifies three challenges in current research and practice: conceptual confusion about transmedia storytelling, the absence of compelling core stories, and weak intertextual connections across media content. It then proposes a design model tailored to cultural communication, centered on a core story and an expanded story world. The model emphasizes building connections between the story world and lived reality, selecting appropriate platforms, and designing audience participation over time. Together, these elements suggest how museum transmedia storytelling can be reimagined beyond commercial imperatives and oriented toward deeper cultural communication.
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[5]Henry Jenkins.Convergence Culture:Where Old and New Media Collide.New York:New York University Press,2006:95-96.
[6]a.同[1]。b.Geoffrey A.Long.Transmedia Storytelling:Business,Aesthetics and Production at the Jim Henson Company.Doctoral dissertation,Massachusetts Institute of technology,2007.c.李诗语：《从跨文本改编到跨媒介叙事：互文性视角下的故事世界建构》，《北京电影学院学报》2016年第6期。d.潘智欣：《走向游戏学：跨媒介叙事的问题与方法》，《电影艺术》2022年第3期。
[7]吕新雨：《故事世界的背后是新旧世界观博弈》，《社会科学报》2024年7月11日第6版。
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[16]同[1]。
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[19]比如托尔金在《魔戒》（The Lord of the Rings）系列小说中创造的“中土世界”（middle-earth）。参见Mark J.P.Wolf.Building Imaginary Worlds:The Theory and History of Subcreation.London and New York:Routledge,2014:6.
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[26]于成、李丽萍：《何谓跨媒介叙事》，《中国社会科学报》2021年11月16日A07版。
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[29]《“黑神铸炼”--「黑神话：悟空」艺术展》，[EB/OL][2025-04-10]https://caam.caa.edu.cn/info/1371/17701.htm.
[30]“宁波帮”最初是指明清以来宁波府在各地活动的工商业者结成的地域性商人群体，后泛指在经济、科技、教育、文化等各个领域奋斗的宁波籍人士。
[31]Song Yi,Gilardi Filippo&Lam Celia.Building Culturally Sustainable Communities.Community Museums and Transmedia Storytelling.Museum Management and Curatorship,2024,39(1):2-19.
[32]Julia Kristeva.Word,Dialogue and Novel.In Toril Moi(ed.) The Kristeva Reader.New York:Columbia University Press,1986:34-61.
[33]殷企平：《谈“互文性”》，《外国文学评论》1994年第2期。
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[35]a.李诗语:《从跨文本改编到跨媒介叙事：互文性视角下的故事世界建构》，《北京电影学院学报》2016年第6期。b.陈先红、宋发枝：《跨媒介叙事的互文机理研究》，《新闻界》2019年第5期。
[36]Henry Jenkins.Transmedia Education:The 7 Principles Revisited.[EB/OL](2010-06-21)[2025-05-10]http://henryjenkins.org/blog/2010/06/transmedia_education_the_7_pri.html?rq=Seven%20Principles%20of%20.
[37]Robert Pratten.Getting Started in Transmedia Storytelling(2nd Edition).London:CreateSpace,2011:11.
[38]Henry Jenkins.Convergence Culture:Where Old and New Media Collide.New York:New York University Press,2006:146.
[39]Mélanie Bourdaa.France:Telling Tales of Cultural Heritage Using Transmedia Storytelling.In Matthew Freeman,William Proctor(eds.).Global Convergence Cultures.New York:Routledge,2018:69-82.
[40]陈先红、宋发枝：《跨媒介叙事的互文机理研究》，《新闻界》2019年第5期。
[41]a.Praetzellis Adrian.Death by Theory:A Tale of Mystery and Archaeological Theory.Lanham,MD:Altamira Press,2000:2.b.James Deetz.Discussion:Archaeologists as Storytellers.Historical Archaeology,1998,32(1):94-96.
[42]Cornelius Holtorf.Meta-Stories of Archaeology.World Archaeology,2010,42(3):381-393.
[43]《〈一念·辛追梦〉马王堆复原动态展试运营》，湖南省博物馆官网，[EB/OL](2022-03-15)[2025-05-10]https://www.hnmuseum.com/zh-hans/node/9143.
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[46]《当年，上海大都市圈近代爱国实业家们如何经世济民？上海市历史博物馆三展齐开》,[EB/OL](2024-03-26)[2025-03-21]https://www.jfdaily.com/staticsg/res/html/web/newsDetail.html?id=730978.
[47]同[34]b，第29-43页。
[48]The King is Dead.[EB/OL](2015-03-15)[2025-05-20]https://en.chateauversailles.fr/news/exhibitions/kingdead#exhibition-curators.
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[50]Bath Georgina.Ghosts of a Chance Alternate Reality Game (ARG).[DB/OL](2008-11-06)[2025-05-13]https://www.aiai.ed.ac.uk/~ai/resources/Ghostsofachance/GhostsofaChance_Report2.pdf.
基本信息:
中图分类号:G260
引用信息:
[1]胡凯云.博物馆跨媒介叙事：概念、问题与方法[J].东南文化,2026,No.309(01):111-119+191-192.
2026-02-28
2026-02-28