"In a vast, hangar-sized studio in Los Angeles once owned by the billionaire industrialist Howard Hughes, two women dressed as medieval maidens are standing on a film set decked out like a castle, poring over a script....
YouTube doesn’t own the programming being made at the studio. Instead, it has made the space available – for free – to the people making the best videos for the site – a community known in YouTube-speak as “content creators”. In the few months since the studio opened a steady flow of online talent has taken advantage of YouTube’s largesse. It includes performers like the Fine Brothers who are shooting My Music, a comedy mockumentary in the vein of This Is Spinal Tap starring Jarrett Sleeper, the spiky-haired punk I spotted looking for an outfit. Freddie Wong and Matt Arnold, two friends in their mid-twenties, recently shot episodes of their Video Game High School series at Playa, featuring duelling teens blowing each other up, video-game style. Their videos have been watched 850 million times on YouTube..."
'Another avenue interactive documentary lends itself to is citizen or participatory (or any of the other names for it) journalism. Jonathan Harris’s platform Cowbird played host to Sandy Storyline, a collaboration of the MIT Center for Civic Media and Housing is a Human Right. The storytelling project, which was set up in the wake of hurricane Sandy, asked members of the public to send in their stories via mobile tool, Vojo. The project has now become a rich participatory documentary, providing a first-person account of the aftermath of hurricane Sandy which the user can explore at their own leisure. Much like Hollow, Sandy Storyline maintains continuous links to the community and relies on grants and donations to fund education programs, host community exhibitions and organise events to involve ever more storytellers. This and the other examples I have discussed, demonstrate collaboration is the key – whether it’s with other organisations or utilising existing platforms, making steps into interactive documentary is unlikely to be a lonesome venture....'
We are excited to announce that the TMC Resource Kit is launching into it's second year. What a year it's been! We have built visual case studies that have been used internationally, collected some amazing resources to help guide producers in creating their own projects, and strengthened TMCRK's partnerships here and abroad.
And first up! is our interview with Rob Pratten on the pervasive entertainment platform, Conducttr!
"The experts from the Financing and Management modules that have come to Ronda in the last weeks have coincided in at least 3 basic truths.
INFORMATION IS KEY. You need to know about the market, about your competitors, about social trends. Bernie Stampfer said he spends one hour reading Screen and Variety, everyday. Laurence Clerc started her session with data: do you know how many screens are there in your country? Do you know how many films are released per year? Did you know the average French goes to the cinema 5.5 times per year; British 2.7; Spanish, 1.9; German 1.6? How do you plan getting people to the cinemas to see your film? Documentary producer Christine Camdessus put it this way: Do your research: it is not infrequent to spend months developing a documentary that has already been made… Gathering information helps you for grab the opportunities of the present and prepare for the future...."
Robert Kirkman has announced at the Image Expo that The Walking Dead will go bi-weekly for seven months, beginning in October's #115, in a twelve-issue arc enti (Walking Dead To Go Bi-Weekly Over Seven Months For All Out War - Bleeding Cool
Toronto Web Fest announced by the Independent Web Series Creators of Canada [July 23, 2013 Toronto] – The Independent Web Series Creators of Canada (IWCC), Canada’s non-profit professional association for web series creators, is pleased to announce it will be hosting Toronto’s very own Web Series Festival: TO WebFest. This is the most recent in an explosion of such events around the world celebrating web series and web series creators, from Hong Kong to Melbourne, LA to Marseille, and London (UK) to Vancouver...
"This session (...) looked at the relationship between technology and storytelling, it’s function within the creation of non-linear narratives and the continued role of “old” storytelling telling methods." I-Docs
"Each technological change in filmmaking has influenced the way stories are crafted. Adapting to these new technologies has repeatedly been presented as a revolutionary new way of storytelling. The first films shot with handheld cameras allowed unprecedented access to events, and later, digital cameras made it cheaper to produce films. Now, with opportunities offered by new media, stories can be told in a non-linear fashion through different platforms, or made interactive. Do these new technologies truly revolutionize the way we document the world, or do they merely change the relationship between the maker and the viewer? Do the old methods of storytelling still apply to interactive or non-linear documentaries?
Caspar Sonnen Mandy Rose Alexandre Brachet William Uricchio
[from DocHouse & the Frontline Club Vimeo Channel]
It's been nearly a year now since a couple of McSweeney's alums released The Silent History, a story in app form about a near-future epidemic of EPR—emergent phasic resistance, "a congenital disorder characterized by the inability to generate or...
By Fiona MilburnWorldwide, transmedia is still an emerging concept. This is especially so here in New Zealand where I’m often asked 'what is transmedia?' followed by, 'so, why transmedia?
Brad Tollefson's insight:
what is transmedia?
I like to shorten my response to 'Transmedia, or multiplatform storytelling, is the extension of a story across multiple forms of media, with each platform making a unique contribution to the narrative experience', knowing that I’ll need to follow up any definition with a few examples. (The Lizzie Bennet Diaries and Monsters University are currently two of my favourites.)
“Why wouldn’t you embrace transmedia?
1. It meets the expectations of today’s audience.
2. It offers new forms of strytelling and creativity.
What these types of writers are looking, and what I was looking for, was structure, that ah-ha moment. This book helps you find those moments, those milestones in story structure, those “Luke, I am your father,” moments.
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