Transmedia LA has created a Wiki that aims to be an open toolkit for everyone in the Transmedia community looking into tools, services, and other innovative resources to facilitate the creation of Transmedia projects.
The National Film Board of Canada is one of world's the leading producers of immersive and cross-media documentaries. Loc Dao and Hugues Sweeney give an in-depth look into the process behind their award-winning projects A Journal of Insomnia and Bear 71 and discuss the past and future of the NFB as well as its role in the global media ecosystem.
Let's start with two of your recent projects: Bear 71 and A Journal of Insomnia. In each case, is it possible to separate the story from the technology?
Loc: Not in our work. The technology is part of the work. It's interesting in that Bear and Insomnia share certain technological characteristics: multi-user audiences, web-cams, installations that interact with the content, but ultimately each is a very different way of telling a story.
Hugues: Each project is a blank canvas. This has been the NFB's DNA for almost seventy-five years: there is no format, there is no series or recipe, there is no repetition. If you go back to the birth of cinéma vérité — direct cinema — it's about synching sound to film. And when you read the discussions around the first direct cinema films, they are talking about the camera and the sound as "reality sensors" and "reality captors". That was in 1959. So what does a web-cam mean today? What does a GPS mean today? What does a brain sensor mean today?...
The story of how an eccentric French shop keeper and amateur film maker attempted to locate and befriend Banksy, only to have the artist turn the camera back on its owner. The film contains footage of Banksy, Shephard Fairey, Invader and many of the world's most infamous graffiti artists at work.
It's 4am in South Korea and I just finished watching this documentary by Banksy, and it blew my mind. To tell the truth I've never heard his name before, but have certainly seen his art.
The narrative is very well constructed and tells a compelling, almost unbelievable, story about how this comic mental character mortgages his own house and makes himself a world famous artist from the blue.
As the character of Banksy points out in the very beginning of the film "it's not Gone With the Wind, but there's probably a moral there somewhere". And that moral is obviously how contemporary "art" is commercially mass produced, and people buy whatever shines the most in front of them.
At the same time there's an engodment (is that a word?) of the figure of Banksy, who might as well be a collective of artists, the Illuminati or Jesus Christ himself.
As the movie reached it's end, it became obvious to me that the characters of Banksy and Shepard had a rather satirical opinion about Mister Brainwash. The way I interpreted the whole thing, was as a big joke in the face of society.
But, a hoax or not, there's no questioning that Banksy used Thierry Guetta to tell his own story and the story of the street art movement. Not only that, he expanded it through Mister Brainwash's art, personal story and real life persona.
Has Banksy successfully used a persons life as a medium?
Please give me some thoughts.
Ps.: sorry for the very poor constructed argument, I'm really sleepy but had to get this out of my head.
The fan art community is one of the most creative and active online. Taking pop culture stories and icons as its starting point, the fan community extends those characters into new adventures, unexpected relationships, bizarre remixes, and even as the source material for beautiful art. Limited only by the imagination of the artist, the fan art world is full of surprises and brilliance.
Phillips is one of the most thoughtful writers working in this space today: she manages to hit the right balance between pragmatism and vision, between describing the conditions under which transmedia producers work today and spelling out the long term potentials of this still emerging form.
David Edery, who was until recently part of the CMS staff and now works for Microsoft, has been generating some interesting discussion over on his blog, Game Tycoon, about how games might harness “the wisdom of crowds” to solve real world problems. It’s an idea he’s been promoting for some time but I only recently had a chance to read through all of his discussion. He starts by describing the growing academic interest that has been generated by James Surowiecki’s The Wisdom of Crowds and then suggesting some of the challenges of applying these concepts in a real world context:
Laura Sterritt: "It is often the less well known, independent musicians who are willing to take chances on new media as artistic expression. The unfortunate Catch-22 is that these musicians or their record labels are usually unable to fund such endeavors"...
Now that the National Film Board of Canada is not the only big player in the game of transmedia storytelling (outside of the branding world, of course), the Tribeca Film Institute, Mozilla and more are eager to put their money and support behind...
The Cosmonaut is the story of Yulia, Stas and Andrei, three characters surrounded by events that happened over a fifteen-year period: successes and failures, accidents, conspiracies, favoritisms and secret missions. It’s the story of the Space Race… from the Soviet point of view. A love triangle seen from a very personal point of view with an innovative narrative due to it’s transmediatic approach. It was a leap of faith since we innovated so much, not only in the funding and distribution part, but also on the narrative part, breaking the story world in a lot of pieces (the 34 webisodes, the film, the book, the diaries of the cosmonaut, the facebook fiction).
BU Today Can a Film Change the World? BU Today “As a filmmaker and a storyteller,” he says, “you are using those commonalities, as well as the excitement that comes with new discoveries, to help build a dramatic structure and rendering that helps...
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).
Leaders in the field of transmedia storytelling converged at the National Association of Broadcasters Show to discuss its potential for engaging audiences...
'...Jenkins next introduced Gale Anne Hurd, asking her to speak on any struggles with the transmedia expecations for The Walking Dead franchise. Jenkins noted that the zombie series was based on “a comic book that’s well known by comic readers, maybe not so well known by viewers of AMC, and you had to work to keep both satisfied.” Gale responded,
Genre fans are already very familiar with transmedia, because most of the properties they respond to have existed in another medium . . . look at Lord of the Rings, [and] some of the films I’ve done, including The Punisher, which became a THQ video game which started as a comic book.
Hurd discussed how transmedia can go in the other direction, mentioning how The Terminator and Aliens both ended up spawning comic books and games. Hurd notes, however, that fans of these works can be “the most demanding, because they feel an enormous connection to the material which has pre-existed, and the first thing you have to respond to is fear.” Fans, with their deep connections to the original material, are often afraid the adaptation won’t remain true to the original when they learn of new media extensions. Part of the solution to this is to involve the creators to make sure they’re happy with the direction the material is being taken. In the case of The Walking Dead, the creator, Robert Kirkman, came on board as Executive Producer and writer. Getting this information out to the fans was important to alleviate their fear, to give them confidence the adaptation would remain true. The other piece was deciding when to air the adaptation to get the most eyeballs on it, especially from the genre fans. AMC airs FearFest in the weeks leading up to Halloween, and the Walking Dead team believed this would be the best venue to air The Walking Dead pilot in order to reach AMC viewers who were already fans of the genre. The next decision was where to start marketing the project....'
Many of today's AAA titles are striving to become transmedia hits, and at GDC Online, 343 Industries explained how the Halo franchise leveraged its comics, animated shorts, and more to sustain its long-term success.
The only way the Augmented Reality industry is going to emerge from its current commercial birthing period is for the brands, corporates & creatives to make sure that AR is delivering a unique, immersive experience and to start to consider the value...