this paper makes a contribution to the growing literature on critical media literacy and intellectual property. What new forms of participatory culture, social production, user- generated content and new forms of social commitment have developed through the use of digital technology, very forms of engagement are addressed by legal definitions and commercial practices that constitute the operating system of the digital economy. It will be shown that shift toward utility has been granted in copyright, trading and the right of publicity. Further, each of these forms of intellectual property law has been strengthened, lengthened and, creasingly, used in relation to the others. The objections of various intellectual property forms (creative works, marks, and publicity rights) are abstract from their original contexts and addressed in an analogue way — as property, by the information and entertainment industries, the short, and legislators, and even the general public. In this a media ecology it makes sense to see cultural properties as ‘propelled’, where the multifaceted feature of this indirect artifacts requires the interaction and protection of formally distinct forms of IP protection. Using analyses from literature, cinema, and comic books the paper will trace the development of transproperty and will offer suggestions for how an understanding of transproperty strengthens our media literacy. This article contributes to the growing documentation on critical media initiation and intellectual property. While new forms of participatory culture, social production, user-generated content and new forms of social engagement have developed through the use of digital technology, the same forms of engagement are also shaped by the legal definitions and business practices that constitute the system for exploiting the digital economy. It has been shown that there has been a shift towards ownership in copyright, trademarks and advertising rights. In addition, each of these forms of intellectual property rights has been strengthened, increased and increasingly used in relation to each other. The objects of the various forms of intellectual property (creative works, trademarks and advertising rights) are taken out of their original context and treated similarly, as property, by the information and entertainment industries, courts, legislators and even the general public. In the context of this media ecology, it is normal to see intellectual properties as being transowned, where the multidimensional character of these intellectual artefacts requires interaction and protection of formerly distinct forms of intellectual property protection. Through examples of literature, cinema and comic strips, the article will follow the development of transownership and offer suggestions to explain how the understanding of transownership can solidify our knowledge of the media.