Media entrepreneurship has given rise to a new media space in which new innovative forms of digital technology have emerged and revolutionised the way we now see the content of new media. The on flowing relation between the creative practitioner and the medium has enabled ‘auteurs’ to use digital technology to present new reflections of their work and to create a projection of commercial content with somewhat of an advertising component. We tend to look at the commercialisation of a medium in retrospect with regard to the medium as ‘means’, forgetting however that it is the emphasis on the means which compromises the outlook of how the work of an auteur evolves through multiple digital mediums. Though commercialized in many forms, this dissertation points out the many pathways in which ordinary auteurs have the power to claim digitally networked fame to advertise not only their own work but also to recreate that presence of in the form of a community of celebrity stardom and appeal. We could argue that the work of an auteur can achieve the role of celebrity endorser once driven and sustained through the avenues presented through digital media. Consequently, the role of the auteur has now been transformed to the celebrity ‘quota’ who can now drive multiple projects and revenue streams thereby redefining the auteur’s significance as a primary advertising utility. We see it in musical artists, actors, sports people and even gamers. The requirement to achieve authenticity through presenting to audiences on transmedia platforms leads to new forms of verification of a million subscribers or 20 million views and likes which has enabled prosumers to connect with their audiences, offering their special talents or advice while at the same time collecting a reward to enhance their celebrity status. The role of the auteur is still alive and it can be said that digital transmedia media networks have helped kept it alive, albeit in a transformed state.