[A]s the product of constantly shifting creative, industrial, and reception practices, the authors in this volume dissect individual moments of crisis, of discovery, and of inspiration that collectively inform the development of transmedia storytelling as a media-industrial practice. In other words, these essays illustrate that “Star Wars” and “transmedia storytelling” must be understood as complex and contradictory terms that are undergoing constant redefinition […] As tempting as it has been to dismiss Star Wars as the top-down expression of cultural and economic power, the many chapters in this book illustrate above all that its rich history results neither from some capitalist master plan nor from the creative genius of any one creative figure. While it may seem as though transmedia franchises such as Star Wars have become all-powerful entertainment empires, these analyses of key moments show how precarious, unpredictable, and strangely unstable the Star Wars storyworld has truly been.
As the television industry has been remapping the flow of media content, as new forms of producers and distributors enter the marketplace, there has also been an accompanying effort to rethink their interface with media audiences. Over the past decade, we’ve seen a renewed emphasis on audience engagement strategies which seek to ensure consumer loyalty and social buzz as a way for individual programs or networks to “break through the clutter” of the multiplying array of media options. New metrics are emerging for measuring the value of engaged viewers and the kinds of social and cultural capital they bring with them when they embrace a program. So, for example, the rise of Black Twitter has been credited with helping to rally support behind new programs with strong black protagonists, such as ABC’s “Scandal,” Fox’s “Sleepy Hollow” and BET’s “Being Mary Jane.” Second-screen apps are becoming ubiquitous as television producers seek to hold onto the attention of a generation of viewers who are prone to multitasking impulses. The successful “Veronica Mars” Kickstarter campaign opens up the prospect of fans helping to provide funding in support of their favorite stars, creators or series. And the commercial success of “50 Shades of Grey,” which was adapted from a piece of “Twilight” fan fiction, has alerted the publishing world to the previously underappreciated value of women’s fan fiction writing as a recruiting ground for new talent and as a source for new creative material. Yet, for all this focus on engaged audiences, does the industry value some form of viewers and viewership more than others? Which groups are being underrepresented here and why? Are the new economic arrangements between fans and producers fair to all involved?
Ivan Askwith – Lead strategist, “Veronica Mars” Kickstarter Campaign
Vicky L. Free – Chief marketing officer, BET Networks
Nick Loeffler – Director of business development, Kindle Worlds
Stacey Lynn Schulman – Senior vice president, chief research officer, Television Bureau of Advertising
Sharon L. Strover – Professor, College of Communication, University of Texas at Austin
Henry Jenkins – Co-director, Transforming Hollywood / provost professor of Communication, Journalism, Cinematic Arts and Education, USC Annenberg School for Communication
Outlines history of transmedia „world-building“ in a variety of contexts, from religion to contemporary art practice. Prepared for a student seminar at the University of Southern California’s School of Cinematic Arts.
In the era of convergence, television producers are developing transmedia narratives to cater to consumers who are willing to follow their favorite shows across multiple media channels. At the same time, there still remains a need to preserve an internally coherent television show for more traditional viewers. This thesis offers a model for how transmedia storytelling can coexist with and enhance a television narrative, using Lost as a case study. By building a world to be discovered, creating a hierarchy of strategic gaps, focusing on the unique capabilities of each extension, and using the “validation effect” to reward fans for their cross-media traversals, television/transmedia producers can provide a satisfying experience for hard-core and casual fans alike.
Transmedia Storytelling in Television 2.0 by Aaron Smith, 2009
Transmedia Storytelling and Alternate Reality Games: A primer for non-specialist audiences.
Henry Jenkins is the director, Comparative Media Studies Program at MIT. In this viral-info-snack he discusses the power of media in a 21 century trans-mediated world. A world where converging technologies and cultures give rise to a new media landscape.
- Top Chef and the Black/Non-Black Divide: How racial stereotypes are reproduced in cooking shows. If this doesn’t open your eyes, nothing will [Link]
- Henry Jenkins discusses his concept of Transmedia Storytelling in this video [Link]
- Text, Videos, Twitter Streams: Vooks and Transmedia Resistance [Link]
- How Twitter Constructs Star Authenticity [Link]
- The Technium on Increasing Ubiquity [Link]
- OOOii: Immersive Design for Science Fiction Movies [Link]
- Star Trek TNG remixed [Link]