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. 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.
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. Henry Jenkins, an author of the seminal book Convergence Culture warns that this is an emerging subject and different authors have different understanding. From a production standpoint, transmedia storytelling involves creating content[4] that engages an audience using various techniques to permeate their daily lives.[5] In order to achieve this engagement, a transmedia production will develop stories across multiple forms of media in order to deliver unique pieces of content in each channel. History[edit] Current state[edit] Educational Uses[edit] References[edit] Further reading[edit]
Transmedia as Contextual Gap Creation & poburke.com Recently I had the good fortune to be at Ravensbourne for a 2 day workshop organised by www.mediaxchange.com with Martin and Christopher from The Company P. ‘P’ are best known for such Participatory projects as The_Truth_About_MarikaDoll PlayThe Conspiracy for Good Although I feel I have a lot of skill bases covered via my eclectic background, the live event ‘stuff’ is not something I have had opportune or, to be honest, motivation to investigate. Now I’m a man for story and for the ownership of the story to also belong to the reader beyond the point of interpretation of the material. Firstly – is there a difference? “If you were to try and communicate love you could a) write a boy meets girl story or b) give someone the experience of a hug.” I like a good story, but I like good hug too. As creators/designers/providers/enablers/offerers we are tasked to provide a context for transmedia experiences. But power isn’t everything. But there are restrictions too.
The Art and Business of Transmedia Storytelling : OReilly Tools of Change for Publishing Conference 2011 - OReilly Conferences, February 14 - 16, 2011, New York Flint Dille is the living embodiment of what is now called Transmedia. His career started by turning toys into TV Shows with G1 Transformers, G.I. Joe, Inhumanoids and Visionaries. He has designed games with Gary Gygax and written movies for Steven Spielberg. Written the Agent 13 novels, which are now in development as movies. Flint has also become a Transmedia object himself. Flint has twice won ‘Game Script of the Year’ (Riddick: Escape from Butcher Bay (with JZP) and Dead to Rights and was nominated for awards in 2010 for Ghostbusters and Dark Athena.
Transmedia Storytelling - What's it all about? Transmedia. It started as an academic term, coined by Henry Jenkins in his book Convergence Culture who said, “transmedia represents the integration of entertainment experiences across a range of different media platforms,” Jenkins defines transmedia as storytelling that “immerses an audience in a story’s universe through a number of dispersed entry points, providing a comprehensive and coordinated experience of a complex story.” As a storytelling mode transmedia is exciting, dynamic and the ultimate 360 approach to storytelling –360content, 360platforms and with the potential for the full 360experience. The basic premise of transmedia is that rather than using different media channels to simply retell the same story, you utilise these channels, their communities and functions to communicate different elements of the story. Its success relies on fragmenting a narrative and making each platform do what it does best which, in turn, extends the life and longevity of the story.
Watch Henry Jenkins discuss Transmedia Storytelling (video) & theory.isthereason 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.
Starlight Runner Entertainment: transmedia Rise of Pervasive Communications Today's most desirable target markets, Millennial young adults and Generation Z ‘tweens and teens, have come of age in a time of pervasive communications. As a result they are far more media savvy, interpersonally connected, and able to express themselves than any previous generation. The problem faced by corporations and big media is that many are communicating on old broadcast models, where the narrative is linear, the medium stands alone, and the narrative is only running one way. A new toolset and new techniques are necessary to reach and engage mass audiences in the digital age. The consumer or audience member is now a user and a participant. Transmedia Storytelling Defined The term transmedia storytelling first saw publication in Convergence Culture: Where Old and New Media Collide, a text by Professor Henry Jenkins (then of M.I.T., currently teaching at the University of Southern California). Transmedia Planning & Development Transmedia Branding
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. In doing so, an exposition can carry out a story arc through application and dialogue that transcends all media execution. Whether you are a brand, an agency, a studio, or a publisher, transmedia storytelling is and will be an integral part of our future success as media entities and content providers. Transmedia's historySo just what is transmedia storytelling, and why hasn't it been fully adopted? Hypersociability is a term used to represent the conversational -- or what Faris Yakob has coined as the "spread" -- nature of content. Next page >>
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. 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. The Newsplex philosophy, boiled down to a sentence, is that news organizations will be best served if they focus on stories—not delivery platforms. It sounds so simple. Do I file first for our Web site, or do I hold my story for the next day's newspaper or evening newscast?
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.
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?