Tracking transmedia developments as they unfold will be complicated, in part because this new entertainment format covers so much ground.
It is a world "where old and new media collide, where grassroots and corporate media intersect, where the power of the media producer and the power of the media consumer interact in unpredictable ways," says USC professor Henry Jenkins in his book Convergence Culture.
"Isaac Newton didn't discover gravity, he just named it," one TV writer-producer quipped during a recent conversation about transmedia.
And so it would seem, despite a testy flame war over the term transmedia—or perhaps because of it—the transmedia movement is catching on across the media business.
"Transmedia" is shorthand for a grab bag of production and distribution practices and audience engagement techniques that have emerged over the past decade, and when taken together, promise a new kind of media experience.
“To truly pay off this type of real-time experience, all members of the WWE team need to be involved, and have a stake in the results,” Hoch told Mashable. “It’s not just about using a hashtag in the upper corner of your TV screen anymore. It’s about making the investment to go ‘all in’ and offer something compelling, anytime, anywhere.”
The story is key. It’s fairly simple to understand, the strongest narratives for this kind of work have broad story worlds, so not only is there the story you see for 90 minutes onscreen, there is a past, present and future in this world.
A Transmedia Narrative project or franchise must consist of three (or more) narrative storylines existing within the same fictional universe on any of the following platforms: Film, Television, Short Film, Broadband, Publishing, Comics, Animation, Mobile, Special Venues, DVD/Blu-ray/CD-ROM, Narrative Commercial and Marketing rollouts, and other technologies that may or may not currently exist. These narrative extensions are NOT the same as repurposing material from one platform to be cut or repurposed to different platforms.
A Transmedia Producer credit is given to the person(s) responsible for a significant portion of a project’s long-term planning, development, production, and/or maintenance of narrative continuity across multiple platforms, and creation of original storylines for new platforms. Transmedia producers also create and implement interactive endeavors to unite the audience of the property with the canonical narrative and this element should be considered as valid qualification for credit as long as they are related directly to the narrative presentation of a project.
Transmedia Producers may originate with a project or be brought in at any time during the long-term rollout of a project in order to analyze, create or facilitate the life of that project and may be responsible for all or only part of the content of the project. Transmedia Producers may also be hired by or partner with companies or entities, which develop software and other technologies and who wish to showcase these inventions with compelling, immersive, multi-platform content.
To qualify for this credit, a Transmedia Producer may or may not be publicly credited as part of a larger institution or company, but a titled employee of said institution must be able to confirm that the individual was an integral part of the production team for the project.
Leading transmedia talent has emerged from a wide array of disciplines, including technology, indie film, fantasy games, marketing, comic books, videogames, advertising, brand advertising, television production, theme parks, academia, and, of course, the Internet.
What sets each apart is a willingness to embrace meaningful audience participation in the transmedia projects that capture their passion.
"I think that the idea of participation is one of the key things we are all wrestling with, both fans and authors, movie directors or whatever kind of creative person we’re talking about," says author Frank Rose. "Participation raises the question of whose story is it? And, the answer I think is, it’s all of ours. In order to really identify with the story, in some way we have to make it our own."
Following current content sharing, cross-platform trends, website Toon Goggles has inked a licensing deal with San Diego, California-based software developer PacketVideo that will allow Toon Goggle viewers to access its free, kid-friendly...
This amazing tool allows us to gether the Combined Twitter Community into a really cool format. And isn't that what Transmedia Brandcasting is all about. The Experience and Invitation for Advertisers to join the Artist Fan relationship. We are...
Via Scoop.it – Story and Narrative The reason why we need to use storytelling when it comes to business, is because people want it. People are used to stories, and they love stories, and if they don’t get a story, they’ll create their own story.
Content Marketing strives to intrigue readers, encourage sharing and prompt conversions. To do so, storytelling is eminent. In fact, storytelling is one of the greatest ways to provide content that builds trust. If you are about to dismiss storytelling in marketing, know that it isn’t just for works of fiction. Applying principles of fiction storytelling to nonfiction helps the writer impact his or her audience in a whole new way.
Transmedia storytelling is becoming the new ‘must have’ in marketing and entertainment. It's easy to be distracted by the promise of the tools and the romance of ‘building out a storyworld’ — and overlook the substance.
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