Tools of attraction: creating multimedia content for games and TV shows. The traditional processes behind TV programme–making are breaking down.
Illustration: Brett Ryder Storytelling has always been at the heart of the best media, be it a TV show, a documentary or a game, and there is no doubt that with the expanding choice of technology – from smart mobile phones and tablets to TV sets that have internet connections – we are seeing an ever–increasing convergence of storytelling on different platforms. But as this convergence develops, one of the key questions now confronting the media industry is this: who's in control of this explosion in creativity? The answer might seem obvious. Surely, it's the commissioners who grant producers the chance to broadcast on their channels. But there is another view: The US version of the BBC hit show The Office is now six years old and has run for more than 160 episodes. What this means for TV programme–makers is that the traditional processes behind TV programme–making are breaking down. Crossmedia production.
Transmédia (1/2) : la convergence des contenus. On a longtemps pensé la convergence numérique comme la “fusion” d’appareils jusque-là très différents : le téléphone, la télévision, l’ordinateur et la chaîne hi-fi ne faisant plus qu’un, fédérés par l’internet.
Même si, au final, on a plus souvent constaté une divergence qu’une convergence : la multiplicité des terminaux induisant une multiplicité d’usages. La connexion de tout avec tout conduit plutôt à une complexification qu’à une rationalisation, expliquait déjà Daniel Kaplan en 2006. Transmédia (2/2) : le marketing de l’attention. La convergence des outils et des technologies conduit-elle à la convergence des contenus ou à leur divergence ?
C’est peut-être ainsi qu’on pourrait résumer l’enjeu qui sous-tend la question du transmédia, sujet coeur des Masterclass internationales du Transmédia qui se tenaient à Marseille la semaine dernière. The Art of Immersion: Why Do We Tell Stories? What is it about stories, anyway?
Anthropologists tell us that storytelling is central to human existence. That it’s common to every known culture. That it involves a symbiotic exchange between teller and listener — an exchange we learn to negotiate in infancy. Just as the brain detects patterns in the visual forms of nature — a face, a figure, a flower — and in sound, so too it detects patterns in information. Stories are recognizable patterns, and in those patterns we find meaning. So powerful is our impulse to detect story patterns that we see them even when they’re not there.
In a landmark 1944 study, 34 humans — Massachusetts college students actually, though subsequent research suggests they could have been just about anyone — were shown a short film and asked what was happening in it. Only one of the test subjects saw this scene for what it was: geometric shapes moving across a plane. Continue reading … Cautionary Tales in Transmedia Storytelling. One of the greatest challenges in transmedia game development is crafting a believable story universe that persists across multiple media without tricking or endangering the game’s players.
Brands that are winning with multichannel marketing strategies. As consumers are increasingly using smartphones, tablets, and other connected devices as a primary gateway to the Internet, it is important for businesses to think “multichannel” in order to provide an optimal customer experience and increase sales.
In addition to smartphone sales surpassing PC sales last year, 78% of mobile web users utilize their handsets while shopping. If 2010 was the year of mobile commerce, consider 2011 the year social shopping truly takes off. So, what’s next for digital retailers? Your Life Is A Transmedia Experience. 61,284 views Featured in: Business “Transmedia” has become the new buzzword for multi-platform narratives, but in the digital age, transmedia isn’t just how we consume entertainment narratives, it’s how we experience the ...
“Transmedia” has become the new buzzword for multi-platform narratives, but in the digital age, transmedia isn’t just how we consume entertainment narratives, it’s how we experience the narrative of our lives. Statistics Views Total Views Views on SlideShare Embed Views Actions Likes Downloads 216 Embeds 24,358 More... Usage Rights © All Rights Reserved. Q&A with Frank Rose, author of ‘The Art of Immersion’ A contributing editor at Wired, Frank Rose is the author of a new book, The Art of Immersion: How the Digital Generation Is Remaking Hollywood, Madison Avenue, and the Way We Tell Stories.
Rose explores how the Internet is transforming storytelling and talks to creative minds who are “rethinking the ancient art of narrative for a two-way world.” He calls their efforts “deep media,” defined as “stories that are not just entertaining but immersive, that take you deeper than an hour-long TV drama or a two-hour movie or a 30-second spot will permit.” Most “deep media” content could also be termed transmedia, a topic we explore in a new trend report, “Transmedia Rising.” Attendees of SXSW Interactive can catch Rose on two panels; he’s also participating in the MediaGuardian Changing Media Summit in London later this month. What’s your elevator pitch for this book? So what got you interested in the topic and made you feel it was worth a book? Transmedia Storytelling 101. Promouvoir le contenu Transmedia. Jeff Gomez on Creating Transmedia Experiences. What is Transmedia?
Brand content et transmédia : l’industrie de la presse comme fil rouge ? Laurent Guérin, co-fondateur de City-Moviz, qui produit actuellement “Detective Avenue”, un programme transmédia en partenariat avec Orange, pour le printemps 2011, a écrit un article intéressant afin de défricher les différentes terminologies « transmédia« , « crossmédia« , « plurimédia » ou encore « mutlimédias« .
Idée clé de Laurent : Le fabuleux business du transmedia storytelling.