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 Archaeology of the Mediterranean World: Transmedia Teaching The very first series of posts on our Teaching Thursday blog revolved around the idea of EduPunk which represented a combination of outside-the-box educational thinking, the widespread use of digital technologies, and the DIY attitude associated closely with punk rock (check them out here and here). While EduPunk appears to have been a flash in the pan, the ideas at the core of the movement probably possess more staying power. In particular, I have noticed a resonance between some of the ideas around EduPunk (whatever they precisely were!) and the notion of transmedia teaching. Transmedia teaching is a term that describes teaching and pedagogical techniques that work to create an immersive learning environment which extends beyond the limits of the classroom through the use of multiple, typically digital, media. The idea derives most specifically from the work of Henry Jenkins on fan culture, convergence culture, and transmedia experiences.
Thoughts on Transmedia Storytelling, or, Is It Right for Every Story? | Booksquare In last week’s post, I noted some of the questions our South by Southwest panel received from the audience. One, in particular, needed more time and space to address: what’s the deal with publishing and its slow adoption of transmedia storytelling, a concept that includes some types of enhanced ebooks. According the person asking the question (and a few on Twitter), everyone wants it. I don’t believe it is true that everyone wants publishing to leap into transmedia storytelling. There are many reasons why publishing hasn’t moved rapidly into the world of transmedia storytelling. And for all the buzz about “enhanced ebooks”, it is early days yet. As I see it, beyond reader adoption, there are three major hurdles publishing must overcome first: rights, business model, and technology and skills. Rights: There is a lot of trickiness in this area alone. For me, treating a story as a transmedia experience is a function of serving the needs of the story.
Le « story telling » et la gestion de projets Le 8 février dernier j’ai assisté à une conférence sur le storytelling par monsieur John Sadowsky organisée par Rezonance. La conférence avait comme titre “L’art du storytelling: devenir leader grâce au récit”. L’idée de base est que l’être humain adore les récits, qu’il s’identifie davantage à une mission, un objectif s’il s’inscrit dans un récit cohérent et authentique. J’ai été attirée par cette conférence car j’ai eu la chance il y a plusieurs années d’avoir une formation sur l’utilisation du conte en entreprise. Tout en écoutant monsieur Sadowsky et après avoir lu son livre, “Les sept règles du storytelling” écrit en collaboration avec Loïck Roche, j’ai imaginé comment cette approche pourrait être utile aux chefs de projets pendant tout le cycle d’un projet. Démarrage du projet Prenons par exemple, le cas de ce client fictif de Marakoudja qui a l’idée de développer un site internet pour gérer les recettes personnelles de chacun. Conception et planification du projet Clôture Closing
The Revenge of the Origami Unicorn: Seven Principles of Transmedia Storytelling (Well, Two Actually. Five More on Friday) Across the next two weeks, we will be rolling out the webcast versions of the sessions we hosted during the recent Futures of Entertainment 4 conference held last month at MIT. (see Monday's post for the session on Grant McCracken's Chief Culture Officer). Many of the conference sessions were focused around the concept of transmedia entertainment. Many of these ideas were informed by the discussions I've been having all semester long within my Transmedia Storytelling and Entertainment class at the University of Southern California. Revenge of the Oragami Unicorn: Seven Core Concepts of Transmedia Storytelling [Electronic Arts game designer] Neil Young talks about "additive comprehension." I first introduced my concept of transmedia storytelling in my Technology Review column in 2003 and elaborated upon it through the "Searching for the Oragami Unicorn: The Matrix and Transmedia Storytelling" chapter in Convergence Culture. As Frank has put it, same elephant, different blind men. 1. 2.
Joseph Pine II – Multiverse This is the extract with the highlights of the presentation by successful author and theorist Joseph Pine II who talks you through his latest and fourth amazing concept: the Multiverse. Pine is known for his books Mass Customization, the Experience Economy and his latest one: Authenticity. The Multiverse is a new framework which Pine is working on. MoMo Amsterdam was the second group (consisting of more than 350 people…) to hear this presentation. The Multiverse consists of 8 different worlds in which people experience their lives.
What is transmedia? ]: It is not safe to rely on the system's timezone settings. You are *required* to use the date.timezone setting or the date_default_timezone_set() function. In case you used any of those methods and you are still getting this warning, you most likely misspelled the timezone identifier. We selected 'America/Chicago' for 'CDT/-5.0/DST' instead in Warning: strtotime() [function.strtotime]: It is not safe to rely on the system's timezone settings. Warning: date() [function.date]: It is not safe to rely on the system's timezone settings. Warning: date() [function.date]: It is not safe to rely on the system's timezone settings. Transmedia is a format of formats; an approach to story delivery that aggregates fragmented audiences by adapting productions to new modes of presentation and social integration.
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. La convergence des outils et des technologies conduit-elle à la convergence des contenus ou à leur divergence ? Trans-, multi-, pluri- médias : concevoir pour tous les écrans Pour Eric Viennot, auteur de jeux et directeur de Lexis Numérique, le transmédia, « c’est un film dont vous êtes le héros ». Image : Eric Viennot à la Une du site des Masterclass internationales du Transmédia. Il s’agit donc bien d’une convergence des médias, même si ceux-ci gardent chacun leurs spécificités. Hubert Guillaud
Smarter Creativity - Blog - The Futures of Entertainment, Narrative & Transmedia Storytelling is at the center of a massive convergence of technologies used for everything from advertising to arts and culture building or to simply entertain. This past November The Futures of Entertainment Conference, hosted by the Convergence Culture Consortium, took place at MIT. The conference brings together scholars and key thinkers from television, advertising, marketing, and the entertainment industries to discuss the unfolding future of the media landscape. Here are all the sessions from the conference along with complementary presentations, blog summaries, tweets and other related materials all in one convenient location for easy study. Before we proceed, it is in your best interest to become familiar with Henry Jenkins, his blog, and his book “Convergence Culture.” Keynote: Revenge of the Origami Unicorn: Five Key Principles of Transmedia Entertainment by Henry Jenkins Through the whole conference Rachel Clarke live-blogged each session with incredible thoroughness.
Joseph Pine II introduceert THE MULTIVERSE Tijdens een bijeenkomst van Mobile Monday in Amsterdam was Joseph Pine II een van de sprekers. De auteur van The Experience Economy presenteerde zijn nieuwe verhaal waarin hij ingaat op 'Technology & Media in the Experience Economy'. Daarin, zo kondigde hij aan, doet hij een bescheiden poging het universum opnieuw te definiëren in 8 verschillende werelden waarin merken ervaringen kunnen vormgeven. Oftewel: The Multiverse. Zijn model is gebaseerd op drie assen. De verschillende combinaties van drie mogelijke eigenschappen leiden uiteindelijk tot 8 werelden; - Physical World - Virtual World - Mirror World - Augmented Reality - Alternate Reality - Warped Reality - Augmented Virtuality - Physical Virtuality Kortom, veel parallelle werelden en andere dimensies die zelfs bij het overwegend technisch georiënteerde publiek nogal abstract overkwamen. En daarmee sloot Pine toch weer naadloos aan op het oorspronkelijke thema van de bijeenkomst: Location Based Services.
From crossmedia to transmedia: thoughts on the future of entertainment - by Nicoletta Iacobacci, guest blogger Nicoletta Iacobacci is the Head of Interactive TV/Eurovision at the European Broadcasting Union (EBU). Television, although originally a one-way (broadcast) medium, has been trying to engage its audience in a two-way experience for several decades. A children's television programme called Winky Dink and You (CBS 1954) was the first attempt to drive the viewer from passive to active. How do crossmedia (Xmedia) and transmedia differ? Let's try a definition. In transmedia storytelling, content becomes invasive and permeates fully the audience's lifestyle. More concretely, from the originator's perspective, transmedia is content embedded with marketing strategies, where content is treated as “goods” to be franchised. Both crossmedia and transmedia are obviously multimedia approaches, using largely of any available channel, tool and media to tell a story.
Lost e i 7 principi del transmedia storytelling | nextmedia & society .org [spoiler free] Ieri notte (o stamattina per chi è in Italia) è andata in onda la puntata finale della sesta ed ultima stagione di Lost (non c'è bisogno che vi spieghi cos'è Lost vero?). Per celebrare degnamente questo evento, vi propongo una mia personale traduzione e sintesi dei sette principi del transmedia storytelling (narrativa trans-mediale) enunciati da Henry Jenkins durante il suo intervento "Revenge of the Origami Unicorn" al Futures of Entertainment 4 (per chi volesse leggere l'originale, oltre al video, c'è anche una traccia in due parti della relazione sul suo blog: parte 1, parte 2). La sintesi è corredata da esempi tratti da Lost. Ma partiamo dalla definizione. Si tratta, secondo Jenkins, di "un processo nel quale elementi integrali di una fiction vengono sistematicamente dispersi su molteplici canali di distribuzione con lo scopo di creare una esperienza di intrattenimento unificata e coordinata. Ed ecco i sette principi: 1. 2. 3. 4. Rispetto a Lost... non saprei... idee? 5.