Transmedia: Clips & Links

Transmedia Notes, Questions, & Clips:

Breaking Bad (AMC: 2008-2013)

Breaking Bad (AMC: 2008-2013)

“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.”

Examples:

Star Wars

Lord of the Rings

The Matrix

Batman

Spiderman

Harry Potter

harry-potter-cast-harry-potter-and-the-goblet-of-fire-1913230-2560-1924

Question: “Have we reached the point where media franchises are going to be judged harshly if they do not sustain our hunger for transmedia content?”

Question: When thinking about narrative, do you feel a transmedia approach enhances or detracts from the ways in which you connect with a story? Do you think it’s a more complex way of storytelling or just a marketing strategy? (eg. Batman and the biggest opening day of all time)

Question: On what levels do you engage with particular stories via a filmic experience? Will you seek out other media relating to the film or story? If so, why?

Multiplicity:

The concept of multiplicity paves the way for us to think about fan fiction and other forms of grassroots expression as part of the same transmedia logic – unauthorized extensions of the “mother ship” which may nevertheless enhance fan engagement and expand our understanding of the original. For those franchises where there is a strong desire to police and preserve continuity, fan fiction can be experienced by producers as a threat, something which may disrupt the coherence of their unfolding story, but where we embrace a logic of multiplicity, they simply become one version among many which may offer us interesting insights into who these characters are and what motivates their behavior.

Question: Do you think unofficial extensions of a particular film or text enhances or detracts from the original?

Example: Breaking Bad

Breaking Bad (AMC: 2008-2013)
Breaking Bad (AMC: 2008-2013)
Fan made games

Fan made games

Fan made games

Fan made games

Breaking Bad Minisode – Team S.C.I.E.N.C.E

Trailer

The Interrogation (graphic novel game)

http://www.amctv.com/shows/breaking-bad/the-interrogation

bb-season-3-interrogation-980

Question: How important do you think fan fiction and involvement is in building  of a transmedia experience for a particular story? Continuity v. Multiplicity

Question: If you could adapt a favorite show, film, game, novel using a transmedia approach what would it be and how would you do it?

General clips on Transmedia:

Transmedia Synergies

TedxTransmedia – play 8:30min

TedxTransmedia – Jeff Parkin – the future of story

Transmedia Storyworlds – theme, audience, play

Wreck It Ralph trailer

Is this transmedia?

http://thisistransmedia.com/2013/02/is-this-transmedia-wreck-it-ralph/

Tron (2012)

Scott Pilgrim Vs The World

Useful Transmedia links:

Transmedia, Hollywood conference

http://www.transmedia.tft.ucla.edu/2013/04/transmedia-hollywood-4-recap-full-video/

Transmedia: the birth of a new artform

http://nofilmschool.com/2013/09/transmedia-birth-of-a-new-art-form/

Is transmedia just marketing?

http://thisistransmedia.com/2013/01/is_transmedia_just_marketing/

5 transmedia projects fall 2013

http://simonstaffans.com/2013/08/29/five-transmedia-projects-autumn-2013/

The Marvel Experience Tour

http://www.themarvelexperiencetour.com/

Henry Jenkins – Transmedia Storytelling

http://henryjenkins.org/2009/12/the_revenge_of_the_origami_uni.html

Summary & Excerpts from Henry Jenkins’ Revenge of the Origami Unicorn:

“Motivated community of artists, storytellers, brands, game designers, and critics/scholars, for whom transmedia has emerged as a driving cause in their creative and intellectual lives.”

“the interplay between different media systems and delivery platforms (and of course different media audiences and modes of engagement.)”

Question: “Have we reached the point where media franchises are going to be judged harshly if they do not sustain our hunger for transmedia content?”

Definition: “”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.”

“will complicate this conception of a “unified and coordinated entertainment experience,” as we factor in the unauthorized, grassroots expansion of the text by fans or consider the ways that franchises might value diversity over coherence in their exploration of fictional worlds”

Transmedia logic: “We might identify 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.”

Example: “We might also draw a distinction between transmedia storytelling and transmedia branding, though these can also be closely intertwined. So, we can see something like Dark Lord: The Rise of Darth Vader as a extension of the transmedia narrative that has grown up around Star Wars because it provides back story and insights into a central character in that saga.”

Spreadibility: “Spreadability refered to the capacity of the public to engage actively in the circulation of media content through social networks and in the process expand its economic value and cultural worth.”

Drillable: “They encourage a mode of forensic fandom that encourages viewers to dig deeper, probing beneath the surface to understand the complexity of a story and its telling. Such programs create magnets for engagement, drawing viewers into the storyworlds and urging them to drill down to discover more”

Continuity: “many transmedia franchises do indeed seek to construct a very strong sense of “continuity” which contributes to our appreciation of the “coherence” and “plausibility” of their fictional worlds and that many hardcore fans see this kind of “continuity” as the real payoff for their investment of time and energy”

Multiplicity: “Multiplicity allows fans to take pleasure in alternative retellings, seeing the characters and events from fresh perspectives, and comics publishers trust their fans to sort out not only how the pieces fit together but also which version of the story any given work fits within”

“The concept of multiplicity paves the way for us to think about fan fiction and other forms of grassroots expression as part of the same transmedia logic – unauthorized extensions of the “mother ship” which may nevertheless enhance fan engagement and expand our understanding of the original. For those franchises where there is a strong desire to police and preserve continuity, fan fiction can be experienced by producers as a threat, something which may disrupt the coherence of their unfolding story, but where we embrace a logic of multiplicity, they simply become one version among many which may offer us interesting insights into who these characters are and what motivates their behavior.”

Immersion v. Extractibility: “In immersion, then, the consumer enters into the world of the story, while in extractability, the fan takes aspects of the story away with them as resources they deploy in the spaces of their everyday life.”

World building: “The concept of world building seems closely linked to the earlier principles of immersion and extractability since they both represent ways for consumers to engage more directly with the worlds represented in the narratives, treating them as real spaces which intersect in some way with our own lived realities.”

Seriality

Performance

 

Subjectivity: “Transmedia extensions may broaden the timeline of the aired material, as happens when we rely on comics to fill in back story or play out the long term ramifications of the depicted events (see for example the use of animation in the build up to The Dark Knight or The Matrix Reloaded). A third function of transmedia extensions may be to show us the experiences and perspectives of secondary characters. These functions may be combined as they were with the Heroes webcomics, which provided backstories and insights into the large cast of characters as the series was being launched. These kinds of extensions tap into longstanding readers interest in comparing and contrasting multiple subjective experiences of the same fictional events.”

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