BBC Academy - Production - Transmedia storytelling 101 Telling your story across multiple platforms has never been more possible. BBC CoP attended this workshop session from BBC Academy's Fusion: Future Fiction day, where Hazel Grian and Dr Tom Abba take us through what transmedia means and how you can use it to play out your story to potentially millions of people worldwide. Transmedia - what does it mean?- You're not just thinking about one platform, you're considering how your audience can have various points of contact with your characters. - Commercially it gives you the ability to play with how people access your brand - how your audience can engage with it at different point in their lives. - How does your story sit within the everyday world - what are people doing in their every day lives while interacting with your creation? - Words like gamification - it's a way of getting big corporations and brand managers to understand what you're talking about. - If you're writing or designing - think of it as 'experience design'. - Where are they?
VOD, Netflix capte 30% du trafic Internet américain Selon une étude publiée par Sandvine, le service de location de vidéo en ligne Netflix est devenu si populaire aux Etats-Unis qu’il représente aujourd’hui 30% (29,7 exactement) de la consommation de la bande-passante américaine. «Netflix est désormais le roi indiscutable de la bande passante en Amérique du Nord», note l’étude. Pour ses auteurs, cette bascule confirme que «nous sommes désormais dans l’âge de la vidéo par Internet». «Les abonnés ont clairement adopté le service de vidéo en ligne de Netflix, modifiant fondamentalement le paysage Internet», estime Sandvine. Et le changement sera durable, le développement des terminaux mobiles comme l’iPad et des décodeurs numériques comme Roku et Boxee devant tirer davantage encore l’utilisation de Netflix aux États-Unis. 23,6 millions d’abonnés Lors de la précédente vague de l’étude, publiée à l’automne 2010, Netflix ne captait encore «que» 20,61% du trafic Internet aux heures de pointe. Sur le même sujet :
Transmedia Archaeology - Storytelling in the | C. Scolari Carlos A. Scolari is Associate Professor (tenure) at the Department of Communication of the University Pompeu Fabra, Spain. He has lectured about transmedia storytelling, media ecology and interactive communication in more than 20 European and Latin American countries. Paolo Bertetti is Professor in Universita degli Studi di Siena, where he conducts research and organises the Master's degree in Business Communication and teaches Analysis of Advertising Discourse. Matthew Freeman is Visiting Lecturer in Media and Communication at Birmingham City University, UK and holds a PhD from the University of Nottingham. Simon Staffans: How to make your Transmedia project a reality July 4, 2011 OK, so your transmedia concept is ready to go. What next? Some tips from our resident expert By Simon Staffans Judging from eager conversations on conferences, amongst industry people and on blogs, Twitterfeeds and Facebook discussions, transmedia will not be going away in the foreseeable future. No wonder then that new transmedia projects are springing up left and right; from big marketing campaigns ahead of major television series (Game of Thrones, photo) to more stand-alone web-based ventures (Robert Pratten’s Lowlifes comes to mind as a great example from earlier this year). The question I’ll try to answer in this post is the very logical follow-up question – I have a great transmedia project; now what do I do with it? Firstly, there are as many approaches as there are transmedia projects. Is it what you think it is? Finally, hope for the best, and if it does get going, be prepared to work really really hard for a really really long time!
Carlos A. Scolari | Hipermediaciones – Mi CV completo en Modern Clicks – Versión infográfica de mi CV en Visualize.me Soy Profesor Titular del Departament de Comunicació de la Universitat Pompeu Fabra (Barcelona). Me doctoré en Lingüística Aplicada y Lenguajes de la Comunicación por la Università Cattolica di Milano, y me especialicé en el estudio de los medios digitales de comunicación y la ecología/evolución de los medios. He sido coordinador del Máster Oficial de Comunicación Digital Interactiva y del Grup de Recerca d’Interaccions Digitals (GRID) de la Universitat de Vic (2003-2009). Desde el 2000 he dictado conferencias, cursos y talleres sobre comunicación digital, semiótica de las interfaces y diseño interactivo en universidades e instituciones de Argentina, Chile, Colombia, Ecuador, Cuba, Brasil, México, Estados Unidos, Canadá, Portugal, España, Francia, Bélgica, Italia, Polonia, Estonia, Reino Unido, Suecia, Austria, Suiza y Arabia Saudita. Entre otras obras he publicado Hacer Clic. Me gusta: Me gusta Cargando...
MEDIA France Qui peut déposer ? Sociétés éligibles : toute société originaire d’un pays membre du Programme MEDIA, ayant pour activité principale la production d’œuvres audiovisuelles et/ou interactives, indépendante (i. e. sans lien déterminant avec un diffuseur). Expérience requise : Production d’une œuvre interactive antérieure (en tant que producteur majoritaire ou producteur délégué) distribuée commercialement (sur support physique ou accessible en ligne) entre le 1 er janvier 2008 et la date de soumission de la demande. Une œuvre antérieure produite par une autre société que la société candidate peut être acceptée si la société candidate démontre que son PDG, l’un de ses actionnaires ou l’un des membres de l’équipe rattaché au développement du projet soumis, bénéficie d’un crédit personnel de : producteur, auteur/game designer, réalisateur/chef de projet/directeur artistique, responsable/chef d’équipe de l’infographie, responsable/chef d’équipe de la programmation interactive/lead programmeur.
Enterprising Women | Camille Bacon-Smith Enterprising WomenTelevision Fandom and the Creation of Popular Myth Camille Bacon-Smith 352 pages | 6 x 9 | 35 illus. Paper 1991 | ISBN 9780812213799 | $28.95s | Add to cart || Outside USA | £24.99 A volume in the series Contemporary Ethnography "Enterprising Women offers a picture of one of the few models around for female community and self-affirmation. A study of the worldwide community of fans of Star Trek and other genre television series who create and distribute fiction and art based on their favorite series. ShareThis | View your shopping cart | Browse Penn Press titles in Literature, Cultural Studies | Join our mailing list Hollywood Second-Guessing Comic-Con, Could Viral Marketing Be Next? The New York Times ran a piece yesterday about how movie studios are taking a more cautious approach to this year’s San Diego Comic-Con. After propelling the comic book convention into the mainstream in recent years, why are they turning away now? Also, what could this shift in priorities mean for viral marketing? Read my thoughts after the break. Why this sudden exodus from the mecca of geek culture? The timing isn’t very good for films either, as the late July timeframe doesn’t help most films coming out that summer and may be too early for next summer’s blockbusters. Fortunately, some studios look to take advantage as well, with Universal’s Cowboys & Aliens having a “serious stunt”, The Amazing Spiderman planning a big promotion, and other films from Paramount, Lionsgate, and Summit hosting panels. What could this mean for viral marketing in general? What do you think about this news? Apparently, the “serious stunt” for Cowboys & Aliens is in fact the film’s world premiere. Comments
The Fantastic Flying Books of Mr. Morris Lessmore for iPad - Digital Storytime's Review The only app to win an Academy Award! The Fantastic Flying Books of Mr. Morris Lessmore was a short animated film released to critical acclaim in 2010. The story follows the adventures of Mr. The book features amazing interactivity, almost so much that the actual story is a bit lost on the first read. Another page features a piano keyboard, highlighting the notes to play 'pop, goes the weasel'. Other pages have draggable elements, like books that can turn the drab townsfolk into characters from classic stories, like Alice in Wonderland, Frankenstein and Treasure Island. As a digital offering, this book is solidly made for such a complex bit of programming, with easy swipe-style page turning. Overall, this book app is really stunning. All reviews are of the app, not the platform/device.
Who is the Transmedia Producer | mayazuckerman.com Blog Posted in Blog on Tuesday, November 8th, 2011 at 6:29 am When I first heard the concept of Transmedia something awoken in me. The concept of orchestrating media was not alien to me. As a visual effects artist I have worked in everything from Film, animation, commercials, games, online, offline, television, creating, producing and directing and a stint in stop motion – years and years ago. But the concept of being intentional on how to spread your storyworld in the brave new world of multiscreens was extremely exciting to me. How would I fit in this world? What is the role I should play? Enter the Transmedia Producer!!! So how do you become one – that is what I embarked on discovering. There are so many amazing people online you can learn from. But the work of my dear friend Robert Pratten of truly gave me a clear sense of how to approach it. Karina Halpern of called it the synthesys – the person that helps all of it comes together.
hero's journey "A Practical Guide to Joseph Cambell’s The Hero with a Thousand Faces" by Christopher Vogler © 1985 “There are only two or three human stories, and they go on repeating themselves as fiercely as if they had never happened before.” In the long run, one of the most influential books of the 20th century may turn out to be Joseph Campbell’s THE HERO WITH A THOUSAND FACES. The book and the ideas in it are having a major impact on writing and story-telling, but above all on movie-making. Filmmakers like John Boorman, George Miller, Steven Spielberg, George Lucas, and Francis Coppola owe their successes in part to the ageless patterns that Joseph Campbell identifies in the book. The ideas Campbell presents in this and other books are an excellent set of analytical tools. With them you can almost always determine what’s wrong with a story that’s floundering; and you can find a better solution almost any story problem by examining the pattern laid out in the book. There’s nothing new in the book.
Les programmes transmédia s'apprêtent à débarquer Une série de TF1 dont les téléspectateurs peuvent influencer le scénario sur le blog de l'héroine. Une websérie non-linéaire sur Arte, dont les personnages existent sur Facebook et Twitter, et dont les spectateurs peuvent naviguer entre une centaine de modules diffusés sur le web et le mobile, dans l'ordre ou le désordre. Un jeu qui s'articule autour d'un site communautaire, d'une série télé et d'un jeu de cartes à collectionner... Tous ces objets audiovisuels non identifiés ont un point commun : ce sont des contenus transmedia. Un vocable encore peu répandu, mais qui correspond à une évolution bien réelle du divertissement, à l'heure du téléspectateur et de l'internaute multitâches. Il ne faut toutefois pas confondre le transmedia avec le crossmedia, qui consiste à décliner un même contenu sur plusieurs plateformes. Jean-François Rodriguez est directeur jeu et transmedia chez Orange. Pourquoi Orange s'intéresse-t-il au transmedia ? Comment agissez-vous ?
hero's journey "A Practical Guide to Joseph Cambell’s The Hero with a Thousand Faces" by Christopher Vogler © 1985 “There are only two or three human stories, and they go on repeating themselves as fiercely as if they had never happened before.” In the long run, one of the most influential books of the 20th century may turn out to be Joseph Campbell’s THE HERO WITH A THOUSAND FACES. The book and the ideas in it are having a major impact on writing and story-telling, but above all on movie-making. The ideas Campbell presents in this and other books are an excellent set of analytical tools. With them you can almost always determine what’s wrong with a story that’s floundering; and you can find a better solution almost any story problem by examining the pattern laid out in the book. There’s nothing new in the book. Campbell’s contribution was to gather the ideas together, recognize them, articulate them, and name them. This accounts for the universal power of such stories. 1.) 2.) 3.) 4.) 5.) 6.) 7.) 8.)