http://henryjenkins.org/transmedia_entertainment/
How New Media is Transforming Storytelling: A New Video Series
Check this out!!!
Friday, 24 September 2010
transmedia storytelling in television
Aaron Smith’s thesis for Middlebury College, Spring 2009. Some interesting ideas about transmedia Narrative in TV setting , certainly something to think about as I develop the Seer Narrative. Key here again is the idea of gaps in the narrative , with rewards for those who fill them. Can that reward be the deeper understanding of the story as it unfolds!
http://blogs.middlebury.edu/mediacp/2009/06/17/the-four-steps-of-transmediation/
Summary: Four Steps towards a Transmedia Narrative1To summarize, a television/transmedia creator can create a transmedia story by following four steps:
1.) Construct a fully furnished world in order to support multiple story lines. The transmedia world should not only have a complex history, but also implied spatial dimensions in order to encourage exploration and discovery. Hard-core fans can seek out transmedia content to flesh out the world, while casual fans can imagine a vast expanse.
2.) Insert strategic narrative gaps that are reserved for development in transmedia extensions. A television producer should give fans the opportunity to ‘produce’ deeper meanings and improve their experience of the show. Though the exact story of a transmedia extension may not be easily planned at the outset, leaving narrative gaps open for transmedia storytelling is an important part of the transmedia design process. Television is unique in that viewers can attempt to fill in these gaps while the show’s narrative is still unfolding. Sometimes these gaps can be easily filled (by following the migratory cues of the hermeneutic codes), other times they help viewers interpret or predict how the gap might be filled, creating a game of formulating and testing theories.
3.) Develop satisfying experiences in each individual transmedia extension. A transmedia text should stand on its own, making the process of learning new narrative information fun in its own right. Transmedia extensions should be carefully designed to reflect the capabilities of a specific medium and type of transmedia extension. New episode extensions can capture the core qualities of a show in a different medium, diegetic artifacts can capture the core qualities of a show and bring them to everyday life, and alternate reality extensions can play with threshold crossing, puzzle solving, and community building.
4.) Reward consumers’ efforts to explore a transmedia story by making passing references that validate the information they learned elsewhere. That way, stories can flow not just from the television show out to transmedia extensions, but also from transmedia extensions into the television show. This creates a pleasure in seeing how a transmedia text operates as a whole and how it creates opportunities for consumers to engage with a story on multiple levels. When watching with casual fans, the validation effect empowers hard-core fans to become ‘gatekeepers’ of information, allowing them to demonstrate their expertise and even encourage others to pursue migratory cues towards transmedia extensions.
It is not coincidental that this proposed model reflects the logic of many video games. As I will discuss in Chapter 4, many hard-core fans already approach cult television shows as if they are games. They scrutinize individual shots, construct and test theories, collaborate to solve puzzles, and create encyclopedic “walkthroughs” for the show. My model, then, is an attempt to harness this gaming culture through transmedia storytelling. We can see similar strategies at work in Halo, for example. Halo’s designers created an immersive world (a war between Covenant aliens and humans), provided goals or missions within the world (rescue a soldier, investigate a mysterious bunker, etc.), made the process of accomplishing those goals enjoyable (killing aliens with a weapons arsenal), and then rewarded the player for accomplishing the goal (a new cut scene that moves the narrative forward). This formula, when applied to transmedia storytelling, allows hard-core fans to create a deeply engaging experience that goes beyond watching television. In my model, hard-core fans enter an immersive world, explore the world with a purpose (to fill in narrative gaps), enjoy the process of exploring (by creating worthwhile experiences), and feel rewarded by seeing a more unified transmedia text come to life (through the validation effect).
6.To be clear, I am not suggesting that television shows should be more like video games. Television will always be an attractive medium simply because viewers can relax and sink into a storyline. Most industry professionals know that viewers do not want to literally interact when immersed in a television show. But transmedia storytelling allows hard-core fans to shape their experience and engage with a television show on a much deeper level. The trick is to subvert these gaming elements within a television show’s narrative so as not to detract from the casual fan’s experience. For more specific techniques in accomplishing this, we must examine the lessons from a television show currently experimenting with transmedia storytelling.
http://blogs.middlebury.edu/mediacp/2009/06/17/the-four-steps-of-transmediation/
Summary: Four Steps towards a Transmedia Narrative1To summarize, a television/transmedia creator can create a transmedia story by following four steps:
1.) Construct a fully furnished world in order to support multiple story lines. The transmedia world should not only have a complex history, but also implied spatial dimensions in order to encourage exploration and discovery. Hard-core fans can seek out transmedia content to flesh out the world, while casual fans can imagine a vast expanse.
2.) Insert strategic narrative gaps that are reserved for development in transmedia extensions. A television producer should give fans the opportunity to ‘produce’ deeper meanings and improve their experience of the show. Though the exact story of a transmedia extension may not be easily planned at the outset, leaving narrative gaps open for transmedia storytelling is an important part of the transmedia design process. Television is unique in that viewers can attempt to fill in these gaps while the show’s narrative is still unfolding. Sometimes these gaps can be easily filled (by following the migratory cues of the hermeneutic codes), other times they help viewers interpret or predict how the gap might be filled, creating a game of formulating and testing theories.
3.) Develop satisfying experiences in each individual transmedia extension. A transmedia text should stand on its own, making the process of learning new narrative information fun in its own right. Transmedia extensions should be carefully designed to reflect the capabilities of a specific medium and type of transmedia extension. New episode extensions can capture the core qualities of a show in a different medium, diegetic artifacts can capture the core qualities of a show and bring them to everyday life, and alternate reality extensions can play with threshold crossing, puzzle solving, and community building.
4.) Reward consumers’ efforts to explore a transmedia story by making passing references that validate the information they learned elsewhere. That way, stories can flow not just from the television show out to transmedia extensions, but also from transmedia extensions into the television show. This creates a pleasure in seeing how a transmedia text operates as a whole and how it creates opportunities for consumers to engage with a story on multiple levels. When watching with casual fans, the validation effect empowers hard-core fans to become ‘gatekeepers’ of information, allowing them to demonstrate their expertise and even encourage others to pursue migratory cues towards transmedia extensions.
It is not coincidental that this proposed model reflects the logic of many video games. As I will discuss in Chapter 4, many hard-core fans already approach cult television shows as if they are games. They scrutinize individual shots, construct and test theories, collaborate to solve puzzles, and create encyclopedic “walkthroughs” for the show. My model, then, is an attempt to harness this gaming culture through transmedia storytelling. We can see similar strategies at work in Halo, for example. Halo’s designers created an immersive world (a war between Covenant aliens and humans), provided goals or missions within the world (rescue a soldier, investigate a mysterious bunker, etc.), made the process of accomplishing those goals enjoyable (killing aliens with a weapons arsenal), and then rewarded the player for accomplishing the goal (a new cut scene that moves the narrative forward). This formula, when applied to transmedia storytelling, allows hard-core fans to create a deeply engaging experience that goes beyond watching television. In my model, hard-core fans enter an immersive world, explore the world with a purpose (to fill in narrative gaps), enjoy the process of exploring (by creating worthwhile experiences), and feel rewarded by seeing a more unified transmedia text come to life (through the validation effect).
6.To be clear, I am not suggesting that television shows should be more like video games. Television will always be an attractive medium simply because viewers can relax and sink into a storyline. Most industry professionals know that viewers do not want to literally interact when immersed in a television show. But transmedia storytelling allows hard-core fans to shape their experience and engage with a television show on a much deeper level. The trick is to subvert these gaming elements within a television show’s narrative so as not to detract from the casual fan’s experience. For more specific techniques in accomplishing this, we must examine the lessons from a television show currently experimenting with transmedia storytelling.
ARG or not ARG? That is the question.
Is the Seer an ARG or not? Does it need to be an ARG or can a transmedial narrative stand alone without involvement within an ARG setting? If the SEER is an ARG what are the rules, how do you win? I am really not sure anymore about these . What I am sure about is that I have set off on a course of discovery within transmedia and I intend to follow it as far as I can.
Excerts from Paper by Tom Abba on Hybrid Stories Examining the future of transmedia narrative
www.dcrc.org.uk/publications/hybrid stories
In my veiw this is an important essay identifying many of the issues within transmendial narrative. I will not attempt to capture its essnse in this blog , but I must say I will be returning to it again and agin as I push forward on my joureny into the dark heart of the transmedial narractive. . I have included a number of early excerts from the piece and the questions it has raised for me about my own SEER project.
In his review of Southland Tales (Kelly Germany/US/France 2006), The Guardian’s John Patterson argues that its ....really, in all of our minds these days narratives are not confined to the medium they were born in; they are part of the larger collage that we all construct from the fragments of everything we watch, read, hear and surf.
In an ARG, the narrative reality of these source storyworlds is taken as genuine, and website material and real-world interactions combine with filmed media to produce a form that responds to player interaction,
becoming, when employed successfully, both an adjunct to the original and a multimedia narrative experience in its own right.
Nicknamed The Beast by its creators, the first recognisable ARG was conceived as a promotional tool for A.I.: Artificial Intelligence. It drew upward of 10,000 players from around the world into a mystery set in the film’s fictional future. Websites presented the story, a participatory narrative comprised of scripted elements, email messages, video clips and puzzles.
Q. Am I being to narrow in the scope of the Seer!
While The Beast appears relatively immature by today’s standards, its technical elements forecast much of what followed in the field. Set fifty years afterthe events of Spielberg’s film, it presented a murder mystery within an sf setting,drawing on the tropes of film noir thrillers and other recognisable film forms in order to produce a consistent world environment. Players interacted with characters, emailing and telephoning remote locations and unknown addresses in order to uncover the truth of an unsolved, and unnoticed, murder. At the end of the game’s twelve-week run4 the players had discovered thirty websites central to the unfolding plotline, and had cracked puzzles and mysteries whose solutions required them to draw on knowledge as varied as binary software encryption and the tablature specific to lute music.
Q Should I be telling the story of an earlier SEER somewhere? Is the scope of this project beyond the bounds of an MA do I need to divide this work into slices , with the ultimate presentation of this project forming the heart of a PHD?
The next ARG tied to the release of a major movie was Metacortechs, which drew on the fictional universe of the Matrix trilogy and played out during October and November 2003......While the word-of-mouth power of Metacortechs was rooted in its players’ knowledge of the universe of The Matrix trilogy, its characters had no knowledge that their reality was a fiction and, indeed, were engaged in their first steps toward uncovering that knowledge. This positioning of the reader with regard to the narrative object is peculiar to an interactive, participatory form.
Q. This is the position of the characters in the SEER , therore by design and or accidnet I am following this accepted rules within Transmedial narrative.!
Q.Has the Seer like the Matrix become a decentralised narrative structure? is this another rule of transmedial narrative.
Are these narrative decisions that I have made by choice or does the medium demand them. Is it true of all transmedial narrative or is it simlpy true of transmedial narrative that is ARG!
www.dcrc.org.uk/publications/hybrid stories
In my veiw this is an important essay identifying many of the issues within transmendial narrative. I will not attempt to capture its essnse in this blog , but I must say I will be returning to it again and agin as I push forward on my joureny into the dark heart of the transmedial narractive. . I have included a number of early excerts from the piece and the questions it has raised for me about my own SEER project.
In his review of Southland Tales (Kelly Germany/US/France 2006), The Guardian’s John Patterson argues that its ....really, in all of our minds these days narratives are not confined to the medium they were born in; they are part of the larger collage that we all construct from the fragments of everything we watch, read, hear and surf.
In an ARG, the narrative reality of these source storyworlds is taken as genuine, and website material and real-world interactions combine with filmed media to produce a form that responds to player interaction,
becoming, when employed successfully, both an adjunct to the original and a multimedia narrative experience in its own right.
Nicknamed The Beast by its creators, the first recognisable ARG was conceived as a promotional tool for A.I.: Artificial Intelligence. It drew upward of 10,000 players from around the world into a mystery set in the film’s fictional future. Websites presented the story, a participatory narrative comprised of scripted elements, email messages, video clips and puzzles.
Q. Am I being to narrow in the scope of the Seer!
While The Beast appears relatively immature by today’s standards, its technical elements forecast much of what followed in the field. Set fifty years afterthe events of Spielberg’s film, it presented a murder mystery within an sf setting,drawing on the tropes of film noir thrillers and other recognisable film forms in order to produce a consistent world environment. Players interacted with characters, emailing and telephoning remote locations and unknown addresses in order to uncover the truth of an unsolved, and unnoticed, murder. At the end of the game’s twelve-week run4 the players had discovered thirty websites central to the unfolding plotline, and had cracked puzzles and mysteries whose solutions required them to draw on knowledge as varied as binary software encryption and the tablature specific to lute music.
Q Should I be telling the story of an earlier SEER somewhere? Is the scope of this project beyond the bounds of an MA do I need to divide this work into slices , with the ultimate presentation of this project forming the heart of a PHD?
The next ARG tied to the release of a major movie was Metacortechs, which drew on the fictional universe of the Matrix trilogy and played out during October and November 2003......While the word-of-mouth power of Metacortechs was rooted in its players’ knowledge of the universe of The Matrix trilogy, its characters had no knowledge that their reality was a fiction and, indeed, were engaged in their first steps toward uncovering that knowledge. This positioning of the reader with regard to the narrative object is peculiar to an interactive, participatory form.
Q. This is the position of the characters in the SEER , therore by design and or accidnet I am following this accepted rules within Transmedial narrative.!
Q.Has the Seer like the Matrix become a decentralised narrative structure? is this another rule of transmedial narrative.
Are these narrative decisions that I have made by choice or does the medium demand them. Is it true of all transmedial narrative or is it simlpy true of transmedial narrative that is ARG!
Wednesday, 22 September 2010
Why so serious - impact on the Seer
http://www.deusexmachinatio.com/2010/04/why-so-serious-lessons-in-transmedia-worldbuilding.html
Why So Serious: Lessons in Transmedia Worldbuilding
This is an interesting blogg which attempts to unpact some of the reasons why this was such a successful campaign. Amongst the comments that were made the one which resonates for me were the comments:
"The most successful transmedia experiences are the ones where there is space for the player to live in the world. Harry Potter, Star Wars, Lord of the Rings; these are all worlds that are very much bigger than the action on the main stage. And that's what we do in the ARG space; we provide walk-on roles that let people live in our worlds, while not requiring them to step onto the main stage themselves."
"So why was Why So Serious such a big deal? It's because it took a world that did not have space for an audience to live inside it -- Gotham -- and created canon spaces where players could dwell, for the first time. They became voters and accomplices. It turned a property that was previously not very well suited to a transmedia experience and created one that suddenly is. It's not just Batman and his allies and enemies anymore."
In my work on the SEER I have already accepted that the world I create "must be much bigger than the action on the main stage" what I am not so sure I have created is the "space where particpants can dwell". Differeing access points to any transmedial world are clearly important , along with a chose as regards how a particpants follows the story / explores the world, what this blog has opend my mind to is the creation of space within the world in which the particpant can dwell. Up until this point I considered the hunt for story elements and the construction of a personal narrative by the reader as enough to draw people in. I am now considering whether this is infact enough , or whether I need to provide an oppotunity for potential consumers to particpate directly into the SEER's world. Twitter and face book have been my obvious access points but now I am considering whether something more creative is required?
Why So Serious: Lessons in Transmedia Worldbuilding
This is an interesting blogg which attempts to unpact some of the reasons why this was such a successful campaign. Amongst the comments that were made the one which resonates for me were the comments:
"The most successful transmedia experiences are the ones where there is space for the player to live in the world. Harry Potter, Star Wars, Lord of the Rings; these are all worlds that are very much bigger than the action on the main stage. And that's what we do in the ARG space; we provide walk-on roles that let people live in our worlds, while not requiring them to step onto the main stage themselves."
"So why was Why So Serious such a big deal? It's because it took a world that did not have space for an audience to live inside it -- Gotham -- and created canon spaces where players could dwell, for the first time. They became voters and accomplices. It turned a property that was previously not very well suited to a transmedia experience and created one that suddenly is. It's not just Batman and his allies and enemies anymore."
In my work on the SEER I have already accepted that the world I create "must be much bigger than the action on the main stage" what I am not so sure I have created is the "space where particpants can dwell". Differeing access points to any transmedial world are clearly important , along with a chose as regards how a particpants follows the story / explores the world, what this blog has opend my mind to is the creation of space within the world in which the particpant can dwell. Up until this point I considered the hunt for story elements and the construction of a personal narrative by the reader as enough to draw people in. I am now considering whether this is infact enough , or whether I need to provide an oppotunity for potential consumers to particpate directly into the SEER's world. Twitter and face book have been my obvious access points but now I am considering whether something more creative is required?
Tuesday, 21 September 2010
World Building
http://www.boingboing.net/2010/06/16/behnam-karbassi---tr.html
( Chris Arkenberg is co-founder of Augmented Reality Development Camp, strategic adviser to Hukilau, and a visiting researcher at Institute for the Future. Elsewhere: URBEINGRECORDED.)
Chris Arkenburg writes a short but interesting peice on the challenges of transmedial world building within a Hollywood setting. He discusses the process he and his team undertook in the creation of "why so serious" the highly successful transmedial campaign that he put together around Warner Brothers BatMan movie.
http://www.whysoserious.com/
"Why So Serious was by far the most incredible movie marketing I'd ever seen, much less, been a part of. I think that's because it went way beyond marketing, it extended the story of the Batman reboot, bridged the gap between the two films, and most importantly, made millions feel they were actually citizens of Gotham City."
I feel that this is the essence of the challnge I face in the Seer, I want to do more that tell the SEER's story I want the viewer to feel that they are actually a citizen of the Heath. Even a brief glance at the why so serious website gives me ideas about how to make the Heath website work.. I will be expolring this website in some detail over the next few days and will blog nmy thoughts.
I also felt that some additonal is added to the discussion on transmedial story telling by his attempts to define the transmedial story tellers role:
We've spent the last year meeting with and helping educate studios, networks, brands and agencies on the potential of transmedia. We're very happy that it's catching on, because we really do believe it's the future of storytelling. But there has been a lot debate over the definition of transmedia, especially since the PGA's bold move to add transmedia producer as an acknowledged position. We've whittled it down to a three-fold explanation:
1) franchise transmedia: extending a story world across media
2) marketing transmedia: stories that support another brand or transmedia
3) native transmedia: stories intended to weave across media from their inception
The holy grail for us is, of course, native transmedia, but both funders and audiences have to change their thinking before it is widely created and accepted.
This idea of a native transmedia is an interesting one and one that I intend to explore within the Seer. I feel it is in its "native" form that transmedia offers its most interesting oppotunities to the independent story teller. Challenging you to explore forms and technics of story telling that are alien to you but that provide you with a way of making your characters sing!
( Chris Arkenberg is co-founder of Augmented Reality Development Camp, strategic adviser to Hukilau, and a visiting researcher at Institute for the Future. Elsewhere: URBEINGRECORDED.)
Chris Arkenburg writes a short but interesting peice on the challenges of transmedial world building within a Hollywood setting. He discusses the process he and his team undertook in the creation of "why so serious" the highly successful transmedial campaign that he put together around Warner Brothers BatMan movie.
http://www.whysoserious.com/
"Why So Serious was by far the most incredible movie marketing I'd ever seen, much less, been a part of. I think that's because it went way beyond marketing, it extended the story of the Batman reboot, bridged the gap between the two films, and most importantly, made millions feel they were actually citizens of Gotham City."
I feel that this is the essence of the challnge I face in the Seer, I want to do more that tell the SEER's story I want the viewer to feel that they are actually a citizen of the Heath. Even a brief glance at the why so serious website gives me ideas about how to make the Heath website work.. I will be expolring this website in some detail over the next few days and will blog nmy thoughts.
I also felt that some additonal is added to the discussion on transmedial story telling by his attempts to define the transmedial story tellers role:
We've spent the last year meeting with and helping educate studios, networks, brands and agencies on the potential of transmedia. We're very happy that it's catching on, because we really do believe it's the future of storytelling. But there has been a lot debate over the definition of transmedia, especially since the PGA's bold move to add transmedia producer as an acknowledged position. We've whittled it down to a three-fold explanation:
1) franchise transmedia: extending a story world across media
2) marketing transmedia: stories that support another brand or transmedia
3) native transmedia: stories intended to weave across media from their inception
The holy grail for us is, of course, native transmedia, but both funders and audiences have to change their thinking before it is widely created and accepted.
This idea of a native transmedia is an interesting one and one that I intend to explore within the Seer. I feel it is in its "native" form that transmedia offers its most interesting oppotunities to the independent story teller. Challenging you to explore forms and technics of story telling that are alien to you but that provide you with a way of making your characters sing!
Sunday, 19 September 2010
Old notes on Henery Jenkins
Notes on Henry Jenkins
Revenge of the Oragami Unicorn: Seven Core
Concepts of Transmedia Story tellinG:
Henry Jenkins talks about Transmedia story
telling.
Frank Rose talks about Deep Media
Frank Rose and Friends on how the Internet is
changing Storytelling:movies, video, games,ads
need to get updates and review this blog
Christy Dena Talks about Cross Media
Check out this sight and begin to read the blogs
- she is doing a PHD in Transmedia.
Everybody is currently trying to understand, the
interplay between different media systems and
delivery platforms (and of course different media
audiences and modes of engagement.)
Check out these sights: Narrative Design
Exploratorium (http://narrativedesign.org/)
has been running a great series of interviews
with transmedia designers and storytellers) and
websites created by transmedia producers, such as
Jeff Gomez, to explain the concept to their
clients.
Check out:
Six years ago Matrix introduced shocked fans to
the concept of transmedia story telling, today
fans have an expectation of some kind of
transmedia link to their favourite programs.
Henry Jenkins points to fan unrest at the hit TV
sho Flash Forwards failure to provide fans within
indepth transmedia product.Henry Jenkins goes on
to question whether we have now reached a point
where media franchises are going to be judged by
quality of transmedia product they bring with
them.
Henry Jenkins defines
"Transmedia storytelling represents a process
where integral elements of a fiction get
dispersed systematically across multiple delivery
channels for the purpose of creating a unified
and coordinated entertainment experience.
Ideally, each medium makes its own unique
contribution to the unfolding of the story."
Henry Jenkins accepts that this model of a
structured and coordinated model of transmedia
story telling can be complicated and pushed out
of shape by the impact of fan response to the
transmedia product that they are experiencing.
This response can take the form of unauthorised
extention to text / script. Henry Jenkins also
invites us to explore the tention between between
the franchies value of diversity over coheresion.
Henry Jenkins identifies narrative as only one
kind of transmedia spectrum. He identifies a
range of others "including branding, spectacle,
performance, games, perhaps others - which can
operate either independently or may be combined
within any given entertainment experience", all
which he states must be considered when thinking
about transmedia entertainmnet.
He also identifies there be a difference
betweentransmedia storytelling and transmedia
branding, e.g star wars breakfast cereal does not
take the star wars story any further!
we need to distinguish between adaptation, which
reproduces the original narrative with minimum
changes into a new medium and is essentially
redundant to the original work, and extension,
which expands our understanding of the original
by introducing new elements into the fiction.
Derrick Johnson has made strong arguments that
the current transmedia moment needs to be
understood in relation to a much longer history
of different strategies for structuring and
deploying media franchises.
Find out more about Derick Johnson...
IN response to the argument that Felix the Cat
Cartoon Character is an early example of
Transmedia character. Hery Jenkins:
We might well distinguish Felix as a character
who is extracted from any specific narrative
context (given each of his cartoons is self-
contained and episodic) as opposed to a modern
transmedia figure who carries with him or her the
timeline and the world depicted on the "mother
ship," the primary work which anchors the
franchise - so its not about a character
appearing across a range of media , but a
cohesive story that covers a range of of media
out lets each adding to the one before it.
1. Spreadability vs. Drillability
Henry Jenkins sees Spreadability and Drillability
as key elements to Transmedia story telling.
Spreadability relates to those consuming the
transmedia product to use social networks to
activly engage in the process of circulating the
media content and so raise its economic value and
cultural worth. So this is more that just telling
people about it and spreading the word , its
about consumers activley pushing the media out to
other consumers to view and ehgage with.
pread-or-drill
JAson Mitchell in his seminal essay on
drillability points to the fact that for
tranmedial product that has a more complex story
structure it is often the consumers ability to
drill down into story and not their ability to
spread it across You tube that is the key to
there success.
"Narrative complexity and drillable engagement is
not an entirely new phenomenon, but rather an
acceleration by degree. Highly serialized genres
like soap operas have always bred fan archivists
and textual experts, while sports fans have a
long history of drilling down statistically and
collecting artifacts to engage more deeply with a
team or player. Contemporary examples are notable
for both the digital tools that have enabled fans
to collectively apply their forensic efforts, and
the demands that mainstream network programs make
upon their viewers to pay attention and connect
the narrative dots."
The opposition between spreadable and drillable
shouldn’t be thought of as a hierarchy, but
rather as opposing vectors of cultural
engagement. Spreadable media encourages
horizontal ripples, accumulating eyeballs without
necessarily encouraging more long-term
engagement. Drillable media typically engage far
fewer people, but occupy more of their time and
energies in a vertical descent into a text’s
complexities
--
James Gbesan
Transmedia storytelling
This is a note I wrote some weeks ago , but I still think its worth posting so here goes.
- Transmedia Storytelling:
Implicit Consumers, Narrative Worlds, and Branding
in Contemporary Media Production
CARLOS ALBERTO SCOLARI
University of Vic
Catalunya, Spain
International Journal of Communication 3 (2009), 586-606 1932-8036/20090586
From resources website
Very interesting slide show workshoping transmedial idea
This is nuts. can I do this with the SEER??
story line:
Vader is the group of children playing with the ball- is he the boy who is knocked over -ben's brother- is this the confrontation between the 2, J.J knows him- so when they meet in the street .this is the confrontation:
Back to the children playing. Now Ben is the danger.
Big d
Ben ,
No vader!
So we are back in the playground
when J.J eneters the kitchen the picture of jesus has changed to one of jimi hendrikx!
J.J notices and questions but nobody else can see it!
watching henry Jenkins talk is really opening up my mind- local paper on line for the heath! who would create! what would it say? Local Pirate station for the heath - how ?
Not a paper a radio station - hearing the voice of the heath before we even meet the SEER
The radio station being played in the opening sequence is infact the vioce of the heath, it is the same vioce that we can listen two now.
Link for kris
its vader
Tuesday, 14 September 2010
My rights as a creator :CopyRight Authorship Property Rights within a Transmedial Narrative.
As the SEER has progressed as a project ,I started to think about property rights. My Property rights . What are they and how do I protect them in a space where in order for the piece to work the audience must participate in its very creation.
Sampling, Copyleft, Wikipedia, and Transformation of Authorship and Culture in Digital Media
http://www.hz-journal.org/n9/hayashi.html
A really interesting article which opened my mind to some of the key issues surrounding property rights within a transmendial environment. Dealing with issues like sampling ,appropriation and the origins of copyright it begins to frame the arguments around IP in this area.
Modernism with its quest for authenticity and originality viewed the artist as the self contained genius the Author god - is challenged by the poststructualism Barthes in his work "Death of the Author" which points that when using the words the author is relying on the fact that we understand their meaning - ie the concepts and story's behind each word within which there meaning is found and from the combination these concepts and story's that the author wants create new meaning.
"the text is a tissue of quotations drawn from the innumerable centres of culture"
So nothing is truly original!
For anybody that has read any of my blog so far the question has to be asked what has all this theory got to do with property rights within a transmedial space? And the answer is Copyright and Intellectual Property. Copyright is law which in essence " a right to [protect and benefit from] the ideas ones generates and the art one produces."
Copyright
"The right to reproduce...adapt or derive other works from it, the right to distribute copies of the original work, the right to perform and display work......"
Originally this area of law stems from the idea that you need to protect the rights of the author to encourage the free flow of ideas .... does that work is it even possible in transmedial world? How does it fit into a situation where the audience of a piece of work , by the act of consumption go onto create that piece of work!!
I clearly don't have all the answer yet , but I have started thinking and will certainly continue to explore this in the future.
Sampling, Copyleft, Wikipedia, and Transformation of Authorship and Culture in Digital Media
Sachiko Hayashi
http://www.hz-journal.org/n9/hayashi.html
A really interesting article which opened my mind to some of the key issues surrounding property rights within a transmendial environment. Dealing with issues like sampling ,appropriation and the origins of copyright it begins to frame the arguments around IP in this area.
Modernism with its quest for authenticity and originality viewed the artist as the self contained genius the Author god - is challenged by the poststructualism Barthes in his work "Death of the Author" which points that when using the words the author is relying on the fact that we understand their meaning - ie the concepts and story's behind each word within which there meaning is found and from the combination these concepts and story's that the author wants create new meaning.
"the text is a tissue of quotations drawn from the innumerable centres of culture"
So nothing is truly original!
For anybody that has read any of my blog so far the question has to be asked what has all this theory got to do with property rights within a transmedial space? And the answer is Copyright and Intellectual Property. Copyright is law which in essence " a right to [protect and benefit from] the ideas ones generates and the art one produces."
Copyright
"The right to reproduce...adapt or derive other works from it, the right to distribute copies of the original work, the right to perform and display work......"
Originally this area of law stems from the idea that you need to protect the rights of the author to encourage the free flow of ideas .... does that work is it even possible in transmedial world? How does it fit into a situation where the audience of a piece of work , by the act of consumption go onto create that piece of work!!
I clearly don't have all the answer yet , but I have started thinking and will certainly continue to explore this in the future.
Thursday, 2 September 2010
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