How Transmedia Storytelling Is Changing TV Lisa Hsia is Executive Vice President of Bravo Digital Media. Until now, media companies have focused on getting audiences to watch shows “live” via a TV set, where the bulk of advertising dollars are. But transmedia storytelling — which is defined as telling a story that extends across multiple media platforms (for television, it's going beyond the on-air show) — has the ability to upend that. “Transmedia” is one of those hot buzz words du jour, with conferences, articles and trend reports devoted to it. Yet it’s not a new concept. Star Wars, The Matrix, Dr. SEE ALSO: The Future of Social TV [VIDEO] In today’s digital era, there are new factors at play that make transmedia a potentially potent game-changer for how TV content is created. Social TV has made television a richer two-way experience with fan participation. Beyond the Second Screen Taking advantage of this new reality is imperative for my network, both from an engagement and value perspective. More Innovation Ahead
Video: What is Transmedia? by Anita Ondine The world has embarked on a new form of storytelling. It is called transmedia. In essence, transmedia is about evolving the way we tell stories to more accurately reflect the consumption habits of our audiences, by delivering independent yet connected stories across multiple media platforms. In doing so, transmedia unlocks fresh creative possibilities, enables access to new revenue streams and promotes deeper levels of audience engagement and brand loyalty. Transmedia encompasses both fictional and fact-based story forms that can be experienced in traditional settings like in cinemas and on television as well as on the internet via mobile devices, social media, as well as at live events and through ‘real world’ game play. The distinguishing feature of transmedia is that all plot lines and media presentations are designed to flow within a single, integrated storyworld, often with an emphasis on audience participation. Of particular note is Tim Kring’s “Heroes” franchise. Share This
The Who’s Who of Transmedia | Transmedia Storytelling (Fall 2010) The main characters in Doctor Who don't change every episode, but this isn't necessarily wrong. Just look at Star Trek for an example of a show that doesn't require character development to be good or engaging. While all of the Dr. Who storytelling outlets were appealing in their own way, I found the radio program to be the least engaging. The other forms of Dr. The comic book version didn’t catch my interest nearly as much as the stories that featured moving pictures. I certainly think it’s possible to stitch together a coherent narrative across multiple mediums; Doctor Who stands as a testament to this. The stories also feature similar structure in terms of characters. Doctor Who seems to consistently meet McKee’s requirement for a good scene: that a binary characteristic of a character is reversed. Like this: Like Loading... Junior at Trinity University.
Le transmedia, c’est quoi Du fait de la convergence audiovisuelle et de la multiplication des écrans, beaucoup de néologismes ont fait leur apparition : smart-TV, mobinautes ou encore le terme barbare « transmédia ». Néologisme vous dites ? Eh bien non pas tellement. Dès 2002, Henry Jenkins évoqua ce terme lors d’une conférence chez EA. Il s’agit tout simplement de raconter une histoire sur plusieurs médias ou supports (téléphone, tablette, télévision, ordinateur principalement). Henri Jenkins à Paris en mai 2012 Si tous les supports existants entrent par définition dans le domaine du transmedia, il faut bien avouer qu’un support sera choisi pour supporter la trame narrative principale. Attirer une audience large, captée depuis les différents points d’entrée et drainée vers la télévision. Pierre Marie Mateo Lire la partie 2 : S’affranchir de la réalité Lire la partie 3 : La contribution par le « télé-acteur » Articles Récents: Articles similaires:
Useful Transmedia breakdown Marketers have always used stories to share information, change opinions and influence decisions. Now, as people create, consume and share brand stories in new ways, marketers need to go beyond the 30-sec product ad or the 300-word press release, and tell purpose-inspired transmedia stories that inspire, organize and energize people. Six Trends in Storytelling Let’s start by recapturing the six important trends that are reshaping how people create, consume and share brand stories: These six trends play an important role in the narrative arc we will draw next: from Hero’s Journey to Heroes to Everyday Heroes. From Hero’s Journey to Heroes to Everyday Heroes Heroʼs Journey: Storytelling The Heroʼs Journey is a good example of a monomyth, or a universal story, that cuts across all types of stories, including myths, movies, novels, and ads. According to Joseph Campbell, all stories follow the same three-part narrative structure of the Hero’s Journey. Heroes: Transmedia Storytelling
Seven Myths About Transmedia Storytelling Debunked Over the past few years, transmedia storytelling has become a hot buzzword in Hollywood and Madison Avenue alike--"the next big thing" or "the last big thing" depending on whom you ask. Last year, the Producer's Guild announced a new job title, Transmedia Producer, a decision that has more or less established the term as an industry standard. More and more companies are laying claim to expertise in producing transmedia content. But many using the term don't really understand what they are saying. So let's look at what people are getting wrong about transmedia. Myth 1: Transmedia Storytelling refers to any strategy involving more than one media platform. The entertainment industry has long developed licensed products, reproducing the same stories across multiple channels (for example, novelizations). Myth 2: Transmedia is basically a new promotional strategy. Yes, many early transmedia experiments were funded through marketing budgets. Myth 3: Transmedia means games.
Confessions of an Aca-Fan — — The Official Weblog of Henry Jenkins 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. 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. Définition du transmédia Le transmédia ou transmédia storytelling est la pratique qui consiste à développer un univers narratif sur plusieurs médias (Télévision, Internet, mobile, radio, édition, tablette, etc.) qui offrent par leur spécificité d’usage et leur capacité technologique, un regard complémentaire sur l’univers et l’histoire. Les différents éléments qui composent cet univers peuvent être explorés et compris indépendamment les uns des autres : Il s’agit de points d’entrée multiples dans l’histoire : les Rabbits holes. . Henry Jenkins, professeur au MIT (Massachussets Institute of Technology) évoqua une première fois en 2002 le terme de transmedia au cours d’un atelier chez Electronic Arts : Un processus par lequel les éléments d’une fiction sont dispersées sur diverses plateformes médiatiques dans le but de créer une expérience de divertissement coordonnée et unifiée.
Transmedia – Taxonomy | the dr will c u now .... This is an excerpt from a paper I did way back when in 2009 part of which needed to address the structure of a transmedia narrative, to clarify some of the terminology first though: Text: – will be used to reference a particular narrative story regardless of what medium in which the story is actually told. This can refer to the transmedia story as a whole (the significance of which we shall examine later in this paper), or for an individual story within the whole. Sub-text: – we shall use this term to define any component text that comprises part of a transmedia story. Adaptation: Where a sub-text has been directly adapted from the original medium, for example (love it or hate it, its marmite entertainment) Dan Brown’s 2004 novel The Da Vinci Code and its film equivalent in 2006 directed by Ron Howard. Henry Jenkins in his online blog “Transmedia Storytelling 101” (2007)  deconstructs the concept of a transmedia experience into its component characteristics. Warner Bros. Like this:
Transmedia storytelling "Transmedia" redirects here. For a related process, see Transmediation. Transmedia storytelling (also known as transmedia narrative or multiplatform storytelling, cross-media seriality etc.) is the technique of telling a single story or story experience across multiple platforms and formats including, but not limited to, games, books, events, cinema and television. The purpose being to not only reach a wider audience by expanding the target market pool, but to expand the narrative itself (). Henry Jenkins, an author of the seminal book Convergence Culture warns that this is an emerging subject and different authors have different understanding. He warns that the term "transmedia" per se means "across media" and may be applied to superficially similar, but different phenomena. History Current state Educational Uses References Further reading