Nyere medier og medieplatforme og deres tværmediale samspil

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1 Nyere medier og medieplatforme og deres tværmediale samspil

2 Menneskeartens mediehistorie kort fortalt De orale samfund (ca f.v.t.) Samfund baseret på tale og skrift (ca f.v.t.) Samfund baseret på tale, skrift og bogtryk (Gutenberg 1450) Samfund baseret på tale, skrift og energibaserede medier (Telegrafen 1843) Samfund baseret på tale, skrift, energibaserede medier og digitale medier (ca. 1945)) Før fysisk bundne invarianter transformeres til symbolske variable. Gamle medier kan simuleres, dvs. Repræsenteres i det binære alfabet, hvorved de bliver til genre i det nye medies tegnssystem Finneman (2005):27

3 Solis Conversation Prism

4 Bayms seven concepts Interactivity Temporal structure Social cues Storage/ Replicability Reach Mobility Nancy Baym (2010): Personal Connections in the Digital Age

5 Bergers STEPPS Berger (2014): Contagious

6 Fagre nye filmverden Nye platforme, medier, genre, formater, finansieringsmuligheder, distributionsformer og ikke mindst fortælleformer - men også gamle tricks i nye gevandter

7 Og dog

8 Transmedia storytelling 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 it own unique contribution to the unfolding of the story. Henry Jenkins (2003) om The Matrix Bevægelse fra fortælingens bevægelse i tid til en udforskning af fortællingens rum

9 Der var engang: Transmedia storytelling Any thoughtful study of contemporary transmedia must start with the vital caveat that transmedia is not a new phenomenon, born of the digital age. Even if the term is new, the strategy of expanding a narrative into other media is as old as media themselves Jason Mittel (2013)

10 Transmedia-storyworlds Peter von Stackelberg (2013) A storyworldis the structure within which all of the concepts, objects, entities, and relationships needed to construct a narrative exist. Properties of or elements contained within the storyworld are: - temporal dimension/ genre/ existents/ events/ settings/ story Klastrup og Tosca (2011) - mythos/ topos/ ethos Ryan (2011) - existents/ events/ settings

11 Transmedia-karakteristika Mittell (2015): Transmedia extensions from a serial franchise must reward those who partake in them, but cannot punish those who do not Mittell (2015) om forskellige transmedielle fortællestrategier: centrifugal eller centripetal Ryan (2011)om samme: Interstital stories (between events), Parallel stories (simultaneously with events), Peripheral stories (far from the events) Valget mellem hvad der skal være statisk og Hvad der skal være dynamisk er afgørende, når man skaber interaktive universer

12 Fra USER til produser Tomme pladser afgørende for, at der sker en bevægelse fra audience over co-creator til stakeholder

13 Transmedia-eksempel

14 The Crossmedia Content Quadrant ProdUSER ikke diegetisk (stakeholder) The Walking Dead wiki Fan fora: - The Walking Dead Forums - The Spoiling Dead - The Walking Dead Memes etc. ProdUSER diegetisk (co-creator) The Walking Dead graphic novel and tv-series PRODucer ikke diegetisk AMC website Facebook, Twitter, Tumblr The Talking Dead PRODucer diegetisk (Audience) Fan fiction Fan art (Betty Draper on Twitter) The Walking Dead webisodes The Walking Dead Escape Games: EA, Facebook, boardgames Novels Fear The Walking Dead

15 Fra storytelling til branding Meaningful participation = Deepening brand loyalty = From virality til spreadability Harnessing collective Intelligence to deepen and evolve the brand Tenderich (2014):16-18

16 Fra branding til storytelling The brand expresses values and is presented as an interpretative contract between the companies and the consumers; it proposes a series of values and the consumers accept (or not) to become part of this world. Therefore, brands appear as narrative or possible worlds since they constitute complex discourse universes with a strong narrative imprint. Semioticians consider brands as narrative worlds that can be analyzed by applying the theoretical tools developed for fictional texts. Scholari (2009): 599

17 Transmedia branding: definition Building on Jenkins definition, transmedia branding is defined as a communication process in which information about a brand is packaged into an integrated narrative, which is dispersed in unique contributions across multiple media channels for the purpose of creating an interactive and engaging brand experience. Tenderich (2014): Fra consumer til prosumer!

18 Transmedia branding: design elementer Design elementer Narratives: if it doesn t spread, it s dead (Jenkins). Stories that get retold are stories people find easy to understand, meaningful and emotionally engaging Character: The most basic component of transmedia branding is the brand an abstract idea used to differentiate products To be expressed in form of a narrative, a brand requires a protagonist or main character, and might even benefit from secondary characters. Participation: The narrative seeds reasons for the audience to care.... As consumers participate in a brand story, they make it personal, relevant, and targeted in a way that is difficult for a brand to do for itself. Tenderich (2014): 24-30

19 Transmedia branding: Old Spice

20 Transmedia branding: Deadpool

21 Transmedia Branding: Dove

22 Transmedia campaigning