Creative Code. Developing an understanding of code is a valuable skill. In fact its now a 21st century storytelling reality. While it’s not critical for you to rush off and learn how to code, it wouldn’t hurt to become more familiar with the terminology, process and realities of producing digital / interactive projects. As filmmakers expand their work beyond a single screen new roles such as creative technologists are emerging to bridge the gap between tech and story. The role has been adapted within ad agencies, interactive firms and media companies as a way to plan and execute digital strategies. At the same time Sundance, Tribeca, POV and others are experimenting with story and code. Within the last year they have run labs or hackathons in an effort to explore new modes of storytelling. Here are some valuable resources to help you get started… StoryCode is a non-profit focused on growing a bridge between the story and technology community.
The second POV Hackathon will be held this week in NYC. Transmedia Across Disciplines at National Association of Broadcasters | Wired Magazine. Leaders in the field of transmedia storytelling converged at the National Association of Broadcasters Show to discuss its potential for engaging audiences as well as best practices for the creation process. Moderated by USC’s Henry Jenkins, the academic who initially popularized the term, the panel featured experienced producers in the film, television and videogaming industries. By Celina Beach, originally posted at ARGNet For the second year in a row, the National Association of Broadcasters (NAB) Show hosted a panel of transmedia luminaries to discuss the state of the industry.
Jenkins started the panel with a definition of transmedia from his book as a starting point for discussion amongst the panelists: Transmedia Storytelling represents a process by which narrative information is systematically dispersed across multiple media channels for the purposes of creating a unified and coordinated entertainment experience. Next to speak was Kim Moses. Cautionary Tales in Transmedia Storytelling | Magazine 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. In her SXSW presentation on the ethics of transmedia storytelling, Andrea Phillips recounted a number of cautionary tales from the genre’s history in order to illuminate best practices in transmedia production. By Brandie Minchew, ARGNet Andrea Phillips has excellent qualifications to talk about ethics in transmedia. In addition to designing a number of transmedia narratives, she, or rather, one of her transmedia campaigns, has been condemned by NASA.
In 2009, Sony Pictures launched a website for The Institute for Human Continuity promoting 2012, their disaster movie for the year. This was not the first time Phillips encountered ethical quandaries in transmedia. So, what are the ethical concerns that today’s transmedia creators should keep in mind? Real vs. Rabbit Holes Context is important. Transmedia. Transmedia + Story + Non Profit = Transmedia activism. « Transmedia Activism » : encore un nom qui écorche les oreilles, me direz-vous… Pourtant cette terminologie vaut la peine que l’on oublie un instant la forme pour s’attarder sur le fond, à savoir : la capacité fédératrice d’une histoire mise au service d’une cause. Car c’est cela que recouvre le transmedia activism : le fait qu’une histoire transmedia – une histoire qui se déploie sur différents supports et qui s’enrichit de la contribution et/ou de la participation du public – vienne nourrir les actions d’acteurs non profit.
Tentative de décryptage de cette nouvelle forme de transmedia storytelling. Le transmedia storytelling : un véritable levier pour le secteur du non profit Les ONG et les associations, qui très souvent n’ont pas un gros budget de communication, l’ont bien compris : l’histoire est fondamentale pour recruter et fidéliser un public engagé. Mais la force de l’histoire est décuplée lorsque ce même public engagé est invité à devenir co-créateur de l’histoire. Transmedia Marketing - 'Transmedia': A brave new world in entertainment marketing. Audiences are active in what Jenkins dubs "transmedia" storytelling,… (Jay L.
Clendenin / Los Angeles…) Can a bench tell a story? Professor Henry Jenkins raised this topic in his very first class at USC three months ago. The benches refer to advertisements for "District 9" placed at bus stops nationwide, with the tag line "Bus bench for humans only," playing on the science-fiction film's apartheid allegory. "I spent the first 20 years of my academic life at MIT in the midst of the digital revolution, and I thought it would be fascinating to spend the second 20 years in Hollywood, observing the other side of the equation," he says. Larry Gross, director of the school of communication at USC, who helped recruit Jenkins, says that media studies scholars often have "a kind of contempt for the audience. " Audiences are especially active in what Jenkins dubs "transmedia" storytelling, in which a story spans multiple media in a coordinated way.
Tapping potential. Transmedia: Entertainment reimagined. This article was taken from the August issue of Wired magazine. Be the first to read Wired's articles in print before they're posted online, and get your hands on loads of additional content by subscribing online Esther Robinson got off the R train in Astoria, Queens, and started walking to the American Museum of the Moving Image. It was a warm July evening in 2007 and Robinson, then 37 years old and a filmmaker, had come with a friend to see a movie, Head Trauma.
As they approached the cinema, she noticed that the payphones were ringing -- all four of them. The film was about a drifter who inherits his mother's house and starts to lose his mind. Unwittingly, she had just participated in an emerging form of mainstream entertainment. This is transmedia storytelling. The trend is already reconfiguring the industry, affecting everything from how stories are made, down to titles on business cards. The story's alive in a transmedia universe. ONE of the creators of the multimedia elements of the hit film Avatar says companies will spreading parts of a story across multiple media. The vehicles for this will range from mobile telephones to computer games. Jeff Gomez calls it "transmedia", extending the storyline rather than just repeating it, but consumers will recognise it as media companies getting more revenue out of a single idea.
Rather than just replicate the story in a different medium, US-based Gomez, who worked with James Cameron on Avatar, says content creators will have to make new worlds for their stories in other mediums such as electronic games and mobile phones, effectively creating a universe that adds new elements to the original idea and can stand on its own as entertainment. Mr Gomez, who is chief executive of the New York-based Starlight Runner Entertainment, has helped Disney, Hasbro, Mattel and even Coca-Cola to create broad worlds aimed at immersing consumers in new stories based on an original idea.