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Transmedia storytelling: más allá de la ficción

Transmedia storytelling: más allá de la ficción
Cada vez que se habla de “transmedia storytelling” terminamos mencionando increíbles experiencias crossmedia nacidas al calor de las nuevas series televisivas (24, Lost, etc.), largometrajes (Matrix, Star Wars, etc.) o literarias (Harry Potter, Crepúsculo, etc.). Los libros sobre narrativas transmediáticas -a partir de los textos de Henry Jenkins como “Convergence Culture“- también suelen estar centrados en las producciones de ficción. Y sin embargo…Podemos definir a una narrativa transmediática a partir de dos variables: - La historia se cuenta a través de varios medios y plataformas: a diferencia de los relatos monomediáticos, en las narrativas transmediáticas el relato puede comenzar en un medio y continuar en otros. Podría decirse que el relato aprovecha lo mejor de cada medio para contarse y expandirse. Hasta ahora la mayor parte de la reflexión sobre las narrativas transmediáticas ha sido “fiction-centred”. ¿Si esto no es “transmedia storytelling”, el transmedia dónde está?

Futures of Entertainment: Archives For more than a year now, I've written about taking a transmedia approach to journalism and how that approach can be best accomplished. I'm not talking in this sense about giving conglomerates the chance to squeeze more blood from the stone, to get three times as much work from half as many journalists, or else the myth of the uberjournalist, where one person should be sent into the field to take the pictures, do the story, get video, and then come back to write the story, publish the photographs, put the video up on the Web, appear on the TV station, and so on. Instead, what I mean is finding the best platform possible to tell the story in, to use each medium to its strengths. As I wrote back in that July post linked to above, "The problem is simply that convergence, as a buzzword, is too broad. The latest issue of The Convergence Newsletter features a piece by Randy Covington that originally ran in the Winter 2006 issue of Nieman Reports.

"Cenicienta 2.0": entiende el concepto de Narrativa Transmedia en unos minutos (vídeo) En mi último artículo os hablé del vídeo de Dani Calabuig de Draft FCB en #FOA2013. Lo mejor que he visto para explicar de forma clara y concisa cómo una marca puede beneficiarse de contar historias en un contexto transmedia. Pues aquí lo tenéis, cortesía de Pablo Muñoz, a quien le agradezco la generosidad de compartirlo con todos los lectores de este blog. Me parecen muy acertados: La visión de cómo se integran los consumidores en el proceso.El solapamiento de "ficción" y "realidad". El rol de los líderes de opinión como amplificadores de la acción.Y el rol de la marca como "facilitador", más que como "Big brother" que impone su discurso. La suma es un contenido que el consumidor sí quiere en sus vidas, hasta el punto de que participa activamente en él. Actualmente estamos trabajando en un contenido Transmedia parecidísimo a esto en Pop up Música. Próximamente más...

Myths and Realities of Convergence The ways in which people acquire news and information have changed far more than most newsrooms. It is a simple truth that explains why news organizations are struggling to match their journalistic values, traditions and strengths with the changing and sometimes fickle tastes of news consumers. Statistics on news consumption tell the story. Newspaper circulation in the United States is falling at a rate of roughly five percent per year, and viewership of television news is also in decline, while new media outlets and fresh formats for telling the news are growing explosively. Who could have imagined that a home video on a Web site that did not exist two years ago could attract more viewers than the most watched programs on network television? Training in New Techniques We observe this struggle for relevance—perhaps even survival—from the vantage point of the Ifra Newsplex at the University of South Carolina. It sounds so simple.

Game Design Advance › Turn Me On, Dead Man: Why Urban Legends Make the Best ARGs In 1969, whispers of a strange rumor began spreading through college newspapers and radio stations across North America. Students in Iowa and Michigan had been tracking clues that pointed towards a sinister conspiracy dating back three years, that if true would suggest one of the most disturbing hoaxes ever staged. Though the mainstream media refused to take their claims seriously, they put their word out in broadcasts, reviews and books, in the hopes of spreading the news and letting everyone in the world know the terrible truth of an entire generation’s greatest heroes. Though that information is still widely written off, it is known in every corner of the earth today by three infamous words: “Paul is dead.” Was it true? See how Paul has his back turned on the back of the Sgt. However, more interesting than the mere narrative of the legend is the fact that it’s been actively perpetrated over the years.

Running With My Eyes Closed › Defining Transmedia What is transmedia and is it different than crossplatform? Good question. The terms are new and lots of people are using them in different ways. I can only tell you what they mean to me. When I use crossplatform and multiplatform I’m talking about projects and content that make use of several different platforms or media. Transmedia is a subset of crossplatform. When I use transmedia two conditions have to be met: The story world must be expressed on at least three platforms. The expression of the story world on each platform must be unique, not the same content repurposed on a different platform. There are plenty of other examples of transmedia out there. For both the fan and the creator part of me, transmedia is very exciting.

Producing Transmedia Stories – 10 Reasons why Audiences do it Better… …than Agencies and Filmmakers. Why do transmedia professionals have a difficult time achieving authentic and fluid transmedia stories and why do ‘existing’ branded entertainment & digital agencies tend towards lowest common denominator, tried and tested formulaic cross media, more about PR, advertising and marketing than real ‘story’ focused engagement. Against this and rather paradoxically we have the ‘so-called’ audience/users actually telling their ‘life’ stories across platforms in a much more natural and engaging way. Having produced and studied cross media since 1997 (“What do Audiences Want” BBC pres) one very large and persistent problem has always been creating authentic transmedia stories – natural story arcs and bridges that lead you onward through a long format, multi platform experience. So why is this? note: this is a personal/user POV condensed version of a longer chapter intro section in my wip book Networked Media Storytelling: Transmedia Design and Production. 10 Volume

Transmedia storytelling: Una historia multiplicada hasta el infinito | o . Son dos conceptos que últimamente se escuchan muchísimo en el ámbito de la comunicación y que para mí tienen una importancia especial. Se trata de contar una misma historia utilizando diversos soportes, de forma que la historia se diversifica y, lejos de ser un relato lineal, se desarrolla en dimensiones paralelas relacionadas entre sí. La fórmula sería algo así como: Desde que comenzó a gestarse hace ya casi 2 años, ha pretendido ser . Si bien es cierto que uno de los pilares principales son los vídeos en sí mismos, hay otros elementos que sirven para completar esta historia. El concepto transmedia o crossmedia se materializa en la televisión web de diferentes maneras: Los vídeos están subtitulados de forma que son . Los contenidos audiovisuales hacen referencia a diferentes páginas y servicios web a través del grafismo, de forma que la información se puede ampliar hasta el infinito en Internet. En todos los casos se pueden . Hemos impartido .

Transmedia Storytelling 101 I designed this handout on transmedia storytelling to distribute to my students. More recently, I passed it out at a teaching workshop at the Society for Cinema and Media Studies. I thought it might be of value to more of you out there in the community. Much of it builds on the discussion of that concept in Convergence Culture, though I have updated it to reflect some more recent developments in that space. For those who want to dig deeper still into this concept, check out the webcast version of the Transmedia Entertainment panel from the Futures of Entertainment Conference. Transmedia Storytelling 101 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

The revolutionary power of transmedia storytelling There has been quite a bit of talk in recent years around the concept of transmedia storytelling. Few of these narratives have actually been implemented, but a select number of companies have chosen to satisfy consumer affinities, put great ideas on a pedestal, and think of creative ways to proliferate those ideas through carefully chosen channels. On a deeper level, transmedia narratives strike an amazing balance between medium and message. Transmedia's historySo just what is transmedia storytelling, and why hasn't it been fully adopted? For starters, it represents a process where integral elements of a fictional narrative get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience, as defined by Confessions of an Aca-Fan. Hypersociability is a term used to represent the conversational -- or what Faris Yakob has coined as the "spread" -- nature of content. Next page >>