Transmedia storytelling (also known as narrative transmedia or multiplatform storytelling ) is a technique of telling a story or story experience across multiple platforms and formats using today's digital technology, not to be confused with traditional cross-platform media franchises, sequels, or adaptations.
Henry Jenkins, author of the seminal book Cultural Convergence , warns that this is an emerging subject and different authors have different understandings about it. He warns that the term "transmedia" per se means "cross-media" and can be applied to a superficial but different phenomenon. In particular, the concept of "transmitter storytelling" should not be confused with traditional cross-platforms, "transmedia" media franchises, or "media mixtures". The narrative of transmedia is in the form of transmedia narration. Kalinov and Markova define the term as: "a multimedia product that communicates its narration through many integrated media channels".
From a production standpoint, telling a story about transmedia involves the creation of content that involves the audience using various techniques to absorb their daily lives. To achieve this engagement, the production of transmedia will develop stories in various forms of media to deliver unique pieces of content in each channel. Importantly, this piece of content is not only linked together (overtly or subtly), but in narrative synchronization with each other. In his latest book, Nuno Bernardo shows TV producers and movies how to use transmedia to build an entertainment brand that can conquer global audiences, readers and users on multiple platforms.
Video Transmedia storytelling
Histori
The origins of the approach to disseminate content across commodities and media traced to mixed media marketing strategies of Japan originated in the early 1960s. Some, however, have traced the roots to Pamela: Or, Virtue Rewarded (1740) written by Samuel Richardson and even show that they go back even further to the earliest literary roots.
In the 1970s and 1980s, pioneering telematic artists created collective narrative experiments, mixing the ancestors of present-day networks, and produced both the vision and critical theory of what became transmedia. With the emergence of major Internet use in the 1990s, many creators began exploring ways to tell stories and entertain audiences using the new platform. Many early examples took the form of what is known as an alternative reality game (ARG), which takes place in real-time with a mass audience. The term ARG itself was created in 2001 to describe The Beast, a marketing campaign for the film A.I: Artificial Intelligence . Some early works include, but are not limited to:
- Ong's Hat most likely began around 1993, and also included most of the design principles mentioned above. Ong's Hat also incorporates legend elements into its design, as noted in the scientific paper Legend-Tripping Online: Supernatural Folklore and Search for Ong's Hat. ISBN 978-1628460612
- Dreadnot, an early example of an ARG style project, was published on sfgate.com in 1996. This ARG includes a voice mail phone number that works for characters, instructions in source code, character email addresses, offsite websites, and locations actually in San Francisco.
- FreakyLinks (link to an archived project at the end of the article), 2000
- The Blair Witch Project - feature movie, 1999
- On Line - feature movie, 2001
- The Beast - game, 2001
- Majestic - video game, 2001
The Macaulay Honors College, part of CUNY, New York, founded New Media Lab focusing on Transmedia Storytelling and content, under the direction of Robert Small.
Maps Transmedia storytelling
Current condition
In 2011, the traditional and dedicated transmedia entertainment studio began embracing transmedia storytelling techniques to find original original story forms for the digital content network and communication channels. Developing technology has enabled the project to now begin to incorporate a single player experience in addition to real time multiplayer experiences such as alternative reality games. While the current and recent project lists are too broad to include here, some well-known examples of transmedia speakers include:
- Slide, the original transmedia experience for Fox8 TV in Australia.
- Skins , a transmedia extension from the TV show Channel 4/Company Pictures by Somethin 'Else in the UK.
- Hello , a series of video games created by Bungie and currently developed by 343 Industries that have evolved to include novels, comic books, audio play, live action web series and live action television series will come from Airtime.
- Cathy's Book , a transmedia novel by Sean Stewart and Jordan Weisman.
- Year Zero , a transmedia project by Nine Inch Nails.
- ReGenesis , a Canadian television series with a real-time extension of transmedia (an alternative reality game) that goes hand in hand with the episode when it airs.
- The Lizzie Bennet Diaries , web series adaptation Pride and Prejudice with Twitter and Tumblr accounts. an independent pandemic, independent film and show created by Lance Weiler.
- JFH: Justice For Hire from Creative Impulse Entertainment, a martial arts-themed martial art transmedia comedy series created by Jan Lucanus that integrates live action movies, web series, animations and music to tell the story across the time line of the universe.
- MyMusic, transmitting sitcom by Fine Brothers Productions as part of the original YouTube channel initiative, one of the more robust transmedia experiences.
- Clockwork Watch, an independent project, about the non-colonial Steampunk world, is told in graphic novels, live shows, online, and feature films created by Yomi Ayeni.
- ZED.TO, a crowdfunded Canadian ARG that simulates the resurgence and downfall of Toronto's futuristic "lifestyle biotechnology" company.
- Disobedience , television shows and video games are paired to tell a connecting and separate story.
- The HIVE Transmission Project, by Daniel D.W. is a series of science fiction novels that combine QR codes in text into multimedia and simulated reality stories.
- Ingress by Niantic Labs in 2012.
- Check it, please! by Ngozi Ukazu is a sustainable webcomic since 2013. The narration comes with a Twitter account from the main protagonist.
- Endgame: Proving Ground , web, phone, books, movies & amp; the actor's direct pay-action game of transreality by Niantic Labs starting in 2014.
- Simon Wilkinson has made several transmedia shows, including Beyond the Dark Black Edge (2014) and The Cube (2015), both of which tell the story of mass disappearance in the 1950s- an American. After seeing its performance, members of the audience investigate the loss online through a series of websites.
- The Man with the Jazz Guitar creates a portrait of jazz musician Ken Sykora, across music, movies, radio, print, and digital.
In 'Digital State: How the Internet changed everything' (2013), writer Simon Pont argues that the story telling of transmedia is a theory that has finally begun to discover its practical steps. Pont quotes Ridley Scott's Alien -prequel Prometheus (2012), and in particular the three viral films produced by 20th Century Fox as part of a global marketing campaign, as clear examples of clear theory transmedia storytelling.
Where Robert McKee (Story, 1998) argues that the back-story is a waste of time (because if the back story is so good then this is a story worth telling), Pont proposes that storytellers like JJ Abrams and Damon Lindelof have "enough McKee arguments many lined up on the wall and shot him ". Pont goes on to argue, "Parallel and non-linear timelines, 'multi-verses', great narratives with the crazy character's rich bow, 'back-story' have become 'more stories', the opportunity to add layers of Byzantine meaning and depth You do not make the world of stories by disarming, but by layering ".
In 'Ball & amp; Flint: transmedia in 90 seconds' (2013), Pont likens transmedia tells stories to "throw a piece of flint on an old stone wall" and "happy to bounce", making the story something that can now be "hit and cut by".
Education usage
Transmedia storytelling imitates everyday life, making it a powerful constructivist pedagogical tool for educational purposes. The level of engagement offered by transmedia speakers is very important for Me or the Millennium Generation because no one media satisfies their curiosity or lifestyle. Schools are slow to adopt the emergence of this new culture that shifts the literacy spotlight from being one of the individual expressions to one community. Whether we look at it or not, Jenkins notes that we live in transmedia, a globally connected world where we use multiple platforms to connect and communicate. Using Transmedia speakers as a pedagogical tool, where students interact with platforms, such as Twitter, Facebook, Instagram, or Tumblr allow students 'view, experience, and resources to build collective intelligence that is interesting, engaging, and immersive, capturing the learners' attention millennial, ensuring the learners have a stake in the experience. Transmedia's narrative offers educators the ability to direct students to critical thinking, identify with materials and gain knowledge, offer a valuable framework for pedagogical constructivist education that supports student-centered learning. Transmedia's narrative allows the interpretation of stories from an individual perspective, paving the way for the creation of personalized meanings.
In 'The Better Mousetrap: Brand Invention in a Media Democracy' (2012), Pont explains, "Transmedia thinks the anchor itself to the world of story, ambition is mainly one way you can 'turn the tale' in various places, in non- linear Moving image marketing is the most obvious application, in which transmedia maintains that there is a 'bigger picture opportunity' to edit the big picture.The Transmedia Theory, applied to the movie launch, is all about promoting the story, not the 'movie maturity date starring... 'In an industry built on the convention of' stars selling movies', where their names sit on the movie title, transmedia thought is anti-conventional and purely pure. "
Transmedia storytelling is also used by companies like Microsoft and Kimberly-Clark to train employees and managers. Gronstedt and Ramos argue: "The essence of any training challenge is a good story that is waiting to be told.The more, these stories are told on many devices and screens, where they can reach wider learners, and engage with them more deeply. "
References
Further reading
- Azemard, Ghislaine (2013), 100 notions for crossmedia and transmedia , ÃÆ' Â © ditles de l'immatÃÆ' Â © riel, p.Ã, 228
- Bernardo, Nuno (2014) Transmedia 2.0: How to Make Entertainment Brands Using the Transmedial Approach to Storytelling
- Bernardo, Nuno (2011) Producer's Guide to Transmedia: How to Develop, Fund, Generate, and Distribute Stunning Stories on Different Platforms
- Phillips, Andrea. (2012) Transmedia Storytelling
- Pont, Simon (2013) "Digital Country: How The Internet Changes Everything". Page Kogan. ISBN: 978-0749468859
- Pont, Simon (2012) "The Better Mousetrap: The Discovery of Brands in Media Democracy". Page Kogan. ISBN: 978-0749466213
- Pratten, Robert (2015) Getting Started in Transmedia Storytelling: A Practical Guide for Beginners Second Edition
Source of the article : Wikipedia
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