Welcome to Transmedia: Storytelling for the Digital Age …
Here, you'll not only find articles on the many facets of transmedia storytelling, but also articles exploring the creative and technical achievements of individual platforms. If you would like to know more about my approach to curating this topic, then please follow the title link to Scoop.it's Lord of Curation Series. I really enjoy your support and hope you find the articles that I share as interesting and useful as I do.
Thank you Scoop.it for the recognition and acknowledgment, it is very much appreciated.
Zack Sharf: "For many, Snapchat is a fun photo-sharing platform best known for its wacky filters and geotags, but for a growing population of filmmakers and artists, the social media app is the new frontier for indie moviemaking and distribution."
Liz Nord: "No matter how you feel about it, virtual reality filmmaking and experiential storytelling is happening. And it's getting better and better. No longer just a gimmick, filmmakers are using the technology to serve the story instead of the other way around."
Adario Strange: "The film is short, but doesn't skimp on major movie style cinematic special effects and editing, delivering a peek at what big virtual reality movies may look like in the near future."
Damon Beres: "Everyone takes snapshots on their iPhone, but maybe they should aim a bit higher. Smartphones are becoming a powerful tool for filmmakers who want to tell stories without spending thousands of dollars on high-end equipment."
Christine Grové talks with Jeff Gomez about the power of transmedia storytelling for brands.
"Transmedia Storytelling is a model that will create various access points for consumers to get to your brand. It’s a process of engaging an audience across numerous forms of media through the artful and well-planned use of multiple-platform storytelling. And it can be applied to any brand of any size."
Scott Beggs: "Going behind the scenes has become the scene. Trailers have become the true first act of any movie. Casting announcements introduce us to characters now. Filmmakers and showrunners gamble with their creative license when they let loose a cliffhanger."
Ben Travers: "In greenlighting this expansive tentpole from Ryan Murphy, FX executives, the series' showrunners, Nina Jacobson and Brad Simpson, and key crew members made very specific, very self-aware and very, very smart moves to ensure high awareness and maximize the potential of this project."
Iain Simons: "This remarkable new artform – the offspring of pretty much every media form that preceded it – has found its way into almost every part of our lives. For a form that’s so ubiquitous, progressive and so loved by many, it seems extraordinary that we still need to make a case for videogames as a key part of modern culture."
Emily Jenab: "Is there ever truly an ethical way of presenting someone’s suffering? The ethics of speaking for others, of sharing and benefitting from someone’s own words, is not a definitive set of rules."
Clive Thompson: "Emoji assist in a peculiarly modern task: conveying emotional nuance in short, online utterances. “They’re trying to solve one of the big problems of writing online, which is that you have the words but you don’t have the tone of voice,” as my friend Gretchen McCulloch, a linguist and author, says."
Kevin Kelly: "Blockbuster MR and VR worlds will require the highest level of world-building. The inherent freedom of the audience to move around, to peek at the underside of things, to linger and appreciate the details, means that great effort and skill will be needed to preserve the chain of persuasion for all the things that make up that world."
DRC: An in-depth look at virtual reality, mixed reality and the future of world building. [This is a long read but well worth the effort!]
Shona Ghosh: "Virtual reality isn't just expensive to produce, it's completely overturned traditional methods of storytelling on film. Here Aardman explains how it's rethinking narrative when the viewer is in control."
Christopher Chabris: "We play games for many reasons: the thrill of victory, the excitement of competition, the experience of being “in the zone” that comes from complete immersion in a mental challenge. But we also play for the chance to create a story."
Kent Bye: "Conflict and growth is the heart of drama, and a lot of films and video games use the trope of external combat to express this. But Rob [Morgan] sees the potential to explore stories in VR and AR that are much more about internalized emotional conflicts within the main protagonist / player of the experience."
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