Gary Hayes: "Alongside my day job for the past couple of years and various labs and seminars I have been involved in, one thing that keeps coming up is 'why is the process for making multiplatform so complicated" ...
Nick DeMartino: "The session was called "Unlock the Power of Fans" at Transmedia Los Angeles’ monthly meetup earlier this week, but I’ll remember it as the Fanthropology of Theatrics, because I learned so much about the way audiences are using the new collaborative storytelling platform that I was there to represent."
Jim Stewartson: "Friends, it’s time to get serious. The ongoing debate between (intelligent, well-meaning) people about what “transmedia” means and even whether defining the word matters at all, is killing our common cause."
Mattia Nicoletti: "Some days ago a friend of mine, owner of music bar close to my house, decided to plan a Funky Night with a Dj in 15 days. From that idea I started thinking what I would have done to transform it into a transmedia experience."
Simon Staffans: "A couple of years ago I wrote a post on transmedia, examining a comparison that Jeff Gomez often sports; the one of likening transmedia to a symphony orchester, where you have a great number of different instruments – or media platforms – that need to be conducted in precisely the right way in order for them to create the harmonies that will make people sit up, take notice and flock to the content."
Macaulay New Media Lab: "The more I engage with this fledgling series, the more I find out about the qualities of a good transmedia story. It isn’t enough to merely adapt a story for screen and print, there needs to be a compelling reason for it to bridge multiple mediums" ...
Jon Vidar: "The production that the Secret Cinema crew puts on is a true transmedia experience in the fullest sense of the definition from Henry Jenkins"
"[...] La convergenza richiede ai media di ripensare i vecchi concetti di consumo [...] se i vecchi consumatori erano considerati soggetti passivi, i nuovi invece sono attivi" (Henry Jenkins Cultura Convergente 2007 Apogeo)
e il consumatore diventa consum-attore protagonista del centro della scena come co-creatore di contenuti e sempre più immerso nell'esperienza che sarà sempre più transmediale.
The production that the Secret Cinema crew puts on is a true transmedia experience in the fullest sense of the definition from Henry Jenkins. "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."
"[...] In the last years I deeply studied the evolution of television and how technology is influecing it. Today they are more screens, more ways to interact, and, if it's all about storytelling, more opportunities to tell stories. For this reason [...] I am very honoured to have the chance to write here in createasphere my experiences and my ideas about “Storytelling in the Multi-Screen World”. Contents will be the key for the future of television and transmedia can elevate these contents to stories 2.0.[...]"
Christine Weitbrecht: "No matter whether you’re a director, a producer, an actor or a writer – the following notes should be useful to everyone involved in a transmedia project when thinking about what’s in-store for the actors and, consequently, for the characters they portray."
Eddie Rehfeldt: "Breaking News: the search for a better narrative format for the internet is now available. Ben Decker once said “the internet is not just another TV pipe” and this was made apparent at SXSWi in Austin last week."
"[...] i consumatori devono assumere il ruolo di cacciatori e di pazienti collezionisti, inseguendo frammenti di storia attraverso i canali mediatici confrontando le loro osservazioni nei gruppi di discussione on line per assicurare che chiunque investa tempo e fatica sarà poi ripagato da un'esperienza di intrattenimento più intensa." (Henry Jenkins Cultura Convergente Apogeo 2007)
The trick is to start with the audience and really design an experience for them. The call for creating interactive storytelling experiences is loud and clear: start with the audience…give your audience a compelling experience, one that makes them want to go deeper. (Miriam Simun, “The Current State of Interactive Documentary”)
Peter Usagi: " The Power of Myth was one of the most popular TV series in the history of public television. In a series of six hour-long episodes, American mythologist Joseph Campbell peeled back the layers of mystery that had once shrouded our species ancient storytelling traditions" ...
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