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Transmedia quick references

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NUEVOS MEDIOS, EL RETO DE LA NARRATIVA TRANSMEDIÁTICA. Para quienes somos docentes en las facultades de comunicación y periodismo (legendarias y arraigadas a los viejos cánones de la información), específicamente en el campo de los medios interactivos y la virtualidad, instaurar un nuevo orden de información multidimensional es un reto complicado y algo ostentoso.


Narrativas transmediáticas, interactividad, mashup y edupunk. Harry Potter, Matrix, Prison break, Smalville o Lost no son solamente el nombre de una saga de libros, películas o series de televisión, sino mucho más.

Narrativas transmediáticas, interactividad, mashup y edupunk

En esta era multi-plataforma representan una marca que tiene presencia en diferentes medios, lenguajes, formatos y áreas comerciales. La narrativa transmediática es una excelente estrategia de producción que adoptaron las corporaciones para extender sus bases y alcanzar nuevos públicos/clientes/usuarios. How Punchdrunk Theatre Reels 'em In With Immersive Storytelling. A scene from Sleep No More, a theater production in New York City created by London theatrical company Punchdrunk.Photo: Yaniv Schulman When London’s Punchdrunk Theatre Company opened Sleep No More in March 2011 in an abandoned warehouse block in New York, few imagined it would still be running a year later.

How Punchdrunk Theatre Reels 'em In With Immersive Storytelling

Modern Mythology. Emerging Applications of Transmedia - Transmedia Digest. Feb 14 2012 As transmedia storytelling becomes more common it is being rolled out across a variety of industries and in many different applications. Entertainment The transmedia approach emerged over the past decade in the entertainment industry. The Matrix franchise was one of the early transmedia narrative successes. The use of transmedia narratives is now moving from the industry’s innovators and into the mainstream. An increasing number of television programs have been using transmedia techniques to extend their storylines. Covert Affairs, a television series on the USA Network cable channel, uses video clips, games, texts, and tweets to extend the secret world of its main characters, who play CIA agents. Marketing and branding Transmedia narratives are being used in marketing and branding as a way to engage consumers in new ways, enhance user experiences, and to strengthen customer loyalty.

Education. Immersive Storytelling and the Future of Film: The Sound of My Voice. Still from The Sound of My Voice with Brit Marling What advances in cinematic storytelling can we expect to see in the Digital Age?

Immersive Storytelling and the Future of Film: The Sound of My Voice

Writer Brit Marling and director Zal Batmanglij have an idea. The story is called The Sound of My Voice – a beautiful, eerie, and contemplative journey into the heart of a prophetic cult. If the name Brit Marling rings a bell, it’s because she was the trifecta creative force (writer / director / actor) behind last year’s beautifully subdued sci-fi drama Another Earth. (If you haven’t seen it yet, you need to visit your Netflix queue.) The Sound of My Voice is the story of a journalist and his girlfriend that are pulled into a cult whose leader (Marling) claims to be from the future. Immersive Storytelling and Clickable Video - The Sound of My Voice “Clickable video” sounds annoying until you see it done right.

How will the immersive digital components tie to a cinematic release? A Unified Labeling System for Transmedia Projects. I’d like to develop a unified labeling for transmedia projects.

A Unified Labeling System for Transmedia Projects

The objective is to allow the audience to quickly and easily determine (a) if this is the kind of project they will like (b) what is expected of them in terms of time and effort required to enjoy the project. I believe this type of communication will help multi-platform projects become more widely accepted and more easily understood. The diagram below shows a simple label that I think covers all the necessary bases.

Age rating. Same idea as for movies and games, identifies if this experience is for children or adults. Genre. The genre of the story. Type of experience. In my Transmedia Radar Diagram I show how an experience can be explained in terms of four dimensions: “A” – authorial control, “P” – participation (audience ability to change the story), “R” – degree to which the story builds its fictional world on the real world and “G” – degree of gaming such as use of puzzles and challenges. Platforms used Time required & Duration. Transmedia Storytelling and Multi-Modal Brands. Transforming data into narrative content.

One of the largest by-products of the digital revolution is data, and entrepreneurs are finding new ways to harness and make use of the increasing variety of data.

Transforming data into narrative content

In the following interview, Kristian Hammond, CTO of Narrative Science, talks about how his company generates narrative stories from gathered data — a function that could play out very well in content organizations such as newspapers, allowing them to scale content without having to hire more staff. Hammond says stories grounded in data work best — think sports stories, to start — and that the increasing amounts and kinds of data being produced create new opportunities for the kinds of stories that can be generated — think pharmaceutical testing reports. He will expand on the ideas and concepts behind using data to generate content in the Scaling Content Development Through Automation session at the upcoming Tools of Change for Publishing conference. Transmedia Storytelling and Content Marketing.

Periodic Table of Storytelling by =ComputerSherpa on deviantART. Narrativas transmediáticas: breve introducción a un gran tema. Enseñar las Hipermediaciones: entre el cine y la teoría de la comunicación (I) En los últimos meses los medios se hicieron eco de algunas experiencias de enseñanza de la física por medio de largometrajes (ver por ejemplo el artículo de El País “La ciencia según los superhéroes“).

Enseñar las Hipermediaciones: entre el cine y la teoría de la comunicación (I)

En España Sergio L.