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. The team asked me to deliver some opening remarks at the conference which updated my own thinking about transmedia and introduced some basic vocabulary which might guide the discussion. My remarks were largely off the cuff in response to power point slides, but I am making an effort here to capture the key concepts in writing for the first time. 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 1. 2.
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.
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. If you work in these industries and storytelling is at the center of what you create you must watch, they are an intensive course in the things that you will be expected to know how to execute in the very near future. Keynote: Revenge of the Origami Unicorn: Five Key Principles of Transmedia Entertainment by Henry Jenkins Rachel Clarke’s notes.
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.
Transmedia 202: Further Reflections The above video was shot by Scott Walker during one of my presentations at San Diego Comic-Con, during which I spoke about some of the controversy which has surrounded the definition of transmedia over the past six months or so. I’ve largely stayed out of these conversations, though you can find a very good summary of the debates here. I’ve been focusing on other projects and also I’ve been more interested in the shapes these discussions take than seeking to intervene in them directly, but over the summer, in a range of venues, I’ve been pushing and proding at my own definitions to see if I can capture some of my own shifting understandings of transmedia, especially as I am preparing to teach a revamped transmedia entertainment class at USC. Much of this is covered in the above video so if you process things better in audio-visual than in print, you have your options. So, consider what follows Transmedia 202, to compliment my earlier Transmedia 101 post. There is no transmedia formula.
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
Henry Jenkins: frictions emerge over trans-media and money-making American media scholar and pop culture expert Henry Jenkins, currently on a lecture tour of Europe, said that all content is heading in the direction of trans-media, shifting from its original state to new platforms. But he warned traditional media owners need to be ready to cede control of revenue in some cases to make it work for them. At a lecture earlier this week at the Institute of International and European Affairs in Dublin, Jenkins spoke about how content is gaining media and value in the era of spreadable media. He pointed to the oxymoron contained in the word 'content' which actually means 'contained'. "Content is no longer contained. It has become unmoored. He added that when we think which is more important content or design, we should be thinking 'use'. As an example of how traditional mediums like the cinema are shifting content to new mediums he cited the recent release of The Hunger Games which saw fans unlock content city by city using Twitter. The people's editorial
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.