Simon Staffans: "Rob Pratten had a brief but excellent post up on Transmedia Coalition the other day, entitled ”The 5Rs of Mobile in Transmedia Storytelling”. To recapitalize briefly, the gist of the post were that" ...
"Ingrid Kopp, our director of digital initiatives at TFI, moderates this panel that includes the participants of this year's inaugural Storyscapes at the Tribeca Film Festival. This new section of the fest celebrates interactive transmedia projects across genres.
Here Hugues Sweeney (A Journal of Insomnia), Brent Hoff, Alexander Reben (Robots in Residence), Casey Pugh (Star Wars Uncut), Michael Premo (Sandy Storyline) and Chris Milk (The Exquisite Forest) talk about their projects and describe the process of bringing work from the web to an immersive, installation space at a film festival."
"The mood at the San Francisco International Film Festival's inaugural A2E: Artist to Entrepreneur direct distribution labs this past weekend might have been described as buoyantly apocalyptic...
While some of the meetings were private, others aspects of the lab were open to the press and offered up a few recurring themes:
Documentaries are leading the way in direct distribution and community building.
Though all the projects in the lab were narrative films, when Paradigm Consulting's Peter Broderick offered up successful direct distribution case studies in his talk, the examples were mainly nonfiction -- a doc on raw food that sold thousands of copies after offering up the film for free streaming for a week, another on Estonian music that featured CDs for purchase on their website alongside their DVD. A presenter from communications strategists Active Voice spoke about how nonprofits have become very savvy about films reaching out to their communities, a now familiar doc strategy, but that there's still untapped potential for narratives to be able to do this with their capacity to reach a new and broader audience.
Broderick cited Amanda Palmer's million dollar Kickstarter campaign as one from which filmmakers could learn."
Worldbuilding is an essential part of any work of fiction. But especially for science fiction or fantasy, it's the lifeblood of storytelling. But when worldbuilding fails, it can wreck your whole story, and leave your characters feeling pointless.
"The digital world of interactivity describes an area of interdisciplinary teamwork that prospers on the promise of “collaborative dy-namics.” Perry Bard’s reworking of Vertov’s Man with the MovieCamera (1929), which fulfils his vision for cinema production anddistribution, is indicative of the creative power of such endeavours. Bard invites users from around the world to replace Vertov’s originaldatabase resources by uploading their own content to a designated website.
by Stavros Alifragkis
"I don’t like the idea of thinking about media as being new. Look at how technology allows us to manipulate the document today; a document of an event is treated as if it were a realistic paint-ing. I’m using the database as a tool and not as an invention. Vertov was asking us to think about the nature of the document alreadyfrom the beginning of the 20th century. The database for me is a toolthat allows my project to happen, but, I am retaining a linear struc-ture, in other words, I am adhering to the movie, I am not allowing people to grab shots from wherever and reorder the film"Perry Bard
The work done at the Harmony Institute illuminates for entertainment creators and funders how mass media, coupled with strong storytelling, can influence society. Featured below are case studies that...
'This infographic tells the big story of KnowledgeWorks’ third forecast on the future of learning, Recombinant Education: Regenerating the Future of Learning. Comprised of twelve key insights with accompanying graphics, it points the way toward a diverse learning ecosystem in which learning adapts to each child instead of each child trying to adapt to school.'
Is the Internet bad for television? Maybe not: Evidence suggests that the web makes people watch more television, and get more engaged with TV advertising....
One unanticipated side effect of this greater availability, according to the seventh annual Deloitte State of the Media Democracy survey, released earlier this year, is that the availability of more ways to watch content–like laptops, tablets and other mobile devices–may be growing the amount of television watched overall, instead of simply replacing one form with another.
“Our conclusion is, the individuals using tablets and smartphones tend to be much heavier media consumers across the board, and in particular tend to be heavier users of digital applications, such as streaming and downloading, even if they’re not using their tablet to do that,” Deloitte vice chairman and U.S. Media and Entertainment sector leader Gerald Belson told Wired.
A recent TiVo survey of almost 10,000 of the service’s subscribers also reached a similar conclusion: There was “no significant difference” in traditional television consumption between those who subscribed to Netflix and those who didn’t. Indeed, those who did subscribe, the survey discovered, may even be more likely to watch more premium cable dramas than those who didn’t....'
The utopian hype over Big Data is being critiqued on many fronts. After all, it isn’t that new. The Romans and the Nazis amassed huge amounts of data on their populations. And then, of course, there is the creepy, Big Brother aspect.
Tweet nur·ture - noun /ˈnərCHər/ - The process of caring for and encouraging the growth or development of someone or something For multi platform storytelling and transmedia to flourish, it's 'creative leaders and trainers' need to use a vast...