actions de concertation citoyenne

Pottermore : un exemple d’utilisation du livre numérique dans le transmédia

Mes lecteurs qui ont le nez fin l’auront peut être senti venir, je pouvais difficilement passer à côté de Pottermore pour illustrer mes propos. Pour ceux qui ne connaitraient pas ce projet, il s’agit tout simplement d’une plateforme dédiée à la version numérique des livres de la saga Harry Potter. Quand elle avait déclaré le lancement de Pottermore en 2011, JK Rowling avait fait grand bruit. Il faut dire qu’elle promettait non seulement de nouveaux contenus autour de sa célèbre saga, mais qu’elle le faisait aussi et surtout en son nom propre, et non pas en celui de son éditeur. Dès lors, nombreux furent les fans à saliver devant l’annonce de cette plateforme unique qui allait leur permettre de replonger dans l’univers du magicien.

Parmi les promesses offertes par Pottermore, celles de découvrir du nouveau contenu écrit par l’auteur autour de l’univers, ainsi que des mini-jeux interactifs et la possibilité de parcourir des lieux clefs de la saga. A la clef, une immersion totale et une expérience interactive et communautaire. Chaque membre de la plateforme pourrait en effet devenir un "véritable" sorcier, interagir avec la communauté, donner ses avis sur les livres, voire proposer ses propres récits…

Via Audrey Bardon

Collaborating with others is often a key part of pulling together a Transmedia project. However, collaboration also raises some important legal questions which need to be addressed.

 

For example from a copyright perspective, when people collaborate together unless the individual contributions are truly distinct and clearly identifiable the resulting copyright work will likely be regarded as a ‘joint copyright work’, which means all owners must approve any use of that copyright work. Luckily however the law does allow for copyright ownership to be split and the rights of use to be clarified by contract.

 

Despite this, when projects develop informally, often issues arise when everyone finally tries to decide what they had previously been promised and envisaged and record this in contracts. Therefore it is important that contracts are in place at the outset of any project and as well as dealing with core issues of ownership, any contracts also need to cover key issues such as deliverables, timeframes and remuneration for those involved.

 

 

Via The Digital Rocking Chair

Via The Digital Rocking Chair

Why are TV companies often the worst offenders when it comes to producing original and creative multiplatform offerings? Why are most just serving up brochure websites, the occassional ‘send in your video via YouTube’ or ‘tweet in what you think, we really want to know’? Where are all the great integrated-with-show online, game and mobile offerings, all the innovative 2nd/3rd screen stuff and really resonant social audience contribution? TV Broadcasters are fighting dwindling audiences overall (apart from great golden age US drama & singing talent shows of course) and struggling to come up with great multiplatform strategies to help reach and re-connect audiences to TV shows? Why is this?

Via The Digital Rocking Chair