Transmedia - Wikip?dia Un article de Wikipédia, l'encyclopédie libre. La narration transmédia (en anglais, transmedia storytelling ) est une méthode de développement d'œuvres de fiction ou documentaires et de produits de divertissement nouvelle qui se caractérise par l'utilisation combinée de plusieurs médias pour développer des univers narratifs, des franchises, chaque média employé développant un contenu différent. De plus chaque contenu peut être appréhendé de manière indépendante, en général, et sont tous des points d'entrée dans l'univers transmédiatique de l’œuvre.De par la diversité des contenus et la profondeur narrative de l’univers que cela engendre, la narration transmédia est singulière par rapport aux modes de narration classique[1]. Attention ! Principe[modifier | modifier le code] La narration transmédia se différencie du multimédia qui décline un contenu principal sur des médias complémentaires. Les différents contenus diffusés participent à la création d’un véritable univers. J.
Transmedia storytelling "Transmedia" redirects here. For a related process, see Transmediation. Transmedia storytelling (also known as transmedia narrative or multiplatform storytelling, cross-media seriality[1] 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 ([2]). 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[edit] Current state[edit] Educational Uses[edit] References[edit] Further reading[edit]
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.
Patricia Bergeron | Cinéma, transmedia, culture, lecture Un article sur le webdocumentaire ? Non, une carte mentale : Articles : Thot Cursus Le CDDP du Tarn-et-Garonne a publié en février 2011 une carte mentale dédiée à l'étude du webdocumentaire en classe. Deux branches principales partent du sujet central. A gauche, les sites de réflexion sur le genre et les propositions d'activités pédagogiques. A droite, l'étude des caractéristiques du webdocumentaire. L'arborescence donne accès à des fragments de textes, écrits par les concepteurs de la carte ou extraits de textes plus longs dont les liens sont fournis en complément. La partie "usages" est bien détaillée, dans la mesure où elle fournit des pistes autant pour exploiter un webdocumentaire en classe que pour en créer un, avec l'exemple d'un webdoc réalisé par des lycéens. La partie dédiée aux caractéristiques du webdocumentaire est également fournie, notamment dans l'examen des différences entre webdoc, le documentaire traditionnel et le reportage. On trouve dans cette carte mentale une sélection de webdocs réalisée sur Symbaloo par le même CDDP. Détail de la carte :
25 Things You Should Know About Transmedia Storytelling Let’s get this out of the way, now — this, like many/most of my other lists, could easily be called “25 Things I Think About Transmedia.” It does not attempt to purport concrete truths but rather, the things I believe about the subject at hand. I am something of an acolyte and practitioner in the transmedia cult, and sometimes give talks on the subject (as I will be doing next week in Los Angeles). So, here I am, putting my transmedia ducks in a row. Please to enjoy. 1. The current and straightest-forwardest (not a word) definition of transmedia is when you take a single story or storyworld and break it apart like hard toffee so that each of its pieces can live across multiple formats. 2. Transmedia is, admittedly, kind of a buzz-word. 3. The rise of any new or altered media form sees an awkward transitional period where everyone wants to define it. 4. Good storytelling is still good storytelling. 5. Transmedia these days is strongly marketing-centric. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15.
C’est quoi une équipe transmédia ? « Fais-Moi Jouer ! Ce soir, le Social Media Club organise une conférence sur le Storytelling Digital. J’y interviendrai pour parler des nouveaux métiers liés au transmédia et plus spécifiquement aux ARG. Si vous le pouvez, rendez-vous à 19 heures à La Cantine. L’occasion pour moi de vous parler des nouveaux métiers liés à l’écriture et la production transmédia. Ayant eu la chance de le rencontrer à Power To The Pixel, j’ai pu demander à Lance Weiler en quoi consistait le rôle du Story Architect. Story Architect« Comment peut-on isoler des éléments du récit et des éléments créatifs (qui vont faire partie du récit) puis trouver les moyens de les transmettre en créant de l’émotion ? Le problème ici est évident : les profils comme celui de Lance Weiler sont peu nombreux. Toujours à Power To The Pixel, j’ai discuté avec Steve Peters et Maureen McHugh, respectivement experience designer et lead author de l’ARG « Why So Serious? LES Community Managers :Ils font vivre la fiction, ils sont la voix du projet.
Andrea Polli Web Documentary IMA 742 Wednesdays 5:30PM -8:30PM Film and Media Department Hunter College, New York Spring 2007 Instructor: Andrea Polli, apolli@hunter.cuny.edu 212.772.5589 COURSE DESCRIPTION: This course is a production course in which students explore issues of sequence, storytelling, linear and non-linear narrative in converging media. Students will look at ways interactive narratives are constructed in hypertext, multimedia and gaming among other interactive formats in order to begin to develop their own language and style of interactive storytelling. PREREQUISITE: Graduate standing, IMA 760 Tools and Techniques of Integrated Media. OBJECTIVES Students will: GRADING POLICIES: A professional attitude and approach toward all aspects of this course is expected. GRADING SCALE 100 - 90 = A 90 - 80 = B 80 - 70 = C 70 - 60 = D 60 and below = F PARTICIPATION: Lecture must be interactive. This syllabus is subject to change Print Resources: Feb 7 Feb 14 Feb 28 March 7 March 14 March 21 May 2
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. 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. 2 Authenticity & Trust
OK Go – Band, Videographers or Viral Video & Transmedia Geniuses? Interview with OKGo The interview with Tim was only about a half hour, but there was so much information to pull out of it I figured it would be better appreciated it if were split into two pieces. Plus, each piece is about a thousand words and that's more than long enough for online reading. You can read Part1 here. OK Go has seen unprecedented success with their online videos of late and Jeremy likened them to Pixar who never seem to fail at their chosen creative outlet. How does OK Go come up with video ideas? We use a variety of techniques. Do they get help seeding their videos with views and marketing them? We recently started our own label with an internet staff of 2 so it's basically us, the fan base and the small staff of people who put it on YouTube, blogs, etc. How have things been since leaving the label, more challenges? There's definitely a lot more freedom or a lot less flagpoles to run stuff up. In regards to labels perhaps taking a page from their playbook Viral videos and makers they admire
3 questions à Anne Bouisset, directrice de TVMI (Aegis Media) Où en sont les noces entre TV et Internet ? Quelles noces ? Il y a bien des façons de se marier… En terme de programmes, les télévisions commencent à intégrer l’idée d’une approche transversale entre les différents supports. Mais il y a encore beaucoup à faire. Bien entendu, cela tient au modèle économique, mais aussi au fait qu’au fond, peu de gens comprennent en même temps le langage web et le langage TV. Dans les chaînes, on travaille encore beaucoup en silo. Chez Aegis Media, dans le cadre de l’activité de conseil de TVMI, nous avons partagé très tôt les deux cultures, en intégrant des experts web et des experts TV, des gens qui savent se parler, échanger, et confronter leurs points de vue. Peut-on envisager un prime time sur les medias numériques ? C’est exactement l’exemple d’une réflexion, menée il y a trois ans maintenant, issue du travail collectif dont j’ai parlé plus haut. Vous êtes membre de la commission nouveaux médias au CNC, quel regard portez-vous sur ces formats ?
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.
Watch Henry Jenkins discuss Transmedia Storytelling (video) Henry Jenkins is the director, Comparative Media Studies Program at MIT. In this viral-info-snack he discusses the power of media in a 21 century trans-mediated world. A world where converging technologies and cultures give rise to a new media landscape. Thanks to the ever wise Cross-Media Specialist @ChristyDena, I checked out Henry Jenkin’s short video on transmedia, which discusses the origin of media and how it’s transformed today. Starting with storytelling shared within tribes, it goes onto the modern day commercialization of media owned by a few powerful conglomerates, and finally today’s re-tribalized media which is reproduced and remixed by anyone handy with digital tools as well as participates in online social networks (e.g. More importantly, Jenkins discusses the emergence of transmedia, which is an affordance of such democratic media tools. In summary, today’s experiences are best served flowy.