Reference

TRANSMEDIA STORYTELLING
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In Transmedia storytelling, content becomes invasive and fully permeates the audience's lifestyle. A transmedia project develops storytelling across multiple forms of media in order to have different "entry points" in the story; entry-points with a unique and independent lifespan but with a definite role in the big narrative scheme.[1] The Labyrinth Project's Marsha Kinder calls them “commercial transmedia superstructures” in her 1991 book Playing with Power in Movies, Television, and Video Games: From Muppet Babies to Teenage Mutant Ninja Turtles. She goes on to say “transmedia intertextuality works to position consumers as powerful players while disavowing commercial manipulation.”[2]

In 2003, then MIT media studies professor, Henry Jenkins used the term in his MIT Technology Review article, "Transmedia Storytelling," where he reflected Kinder's assumption, via analysis of mass-market entertainment, that the coordinated use of storytelling across platforms can make the characters more compelling. [3] Under the mentorship of Kinder, Stephen Dinehart, used transmedia storytelling as a development methodology, creating the term transmedial play and the VUP (viewer/user/player). In the paper "Transmedial Play" he relates trandsmedia storytelling to Richard Wagner's concept of "the total artwork" or "Gesamtkunstwerk".[4] Dinehart goes on to suggest that unlike crossmedia projects of the past, in which IP crosses the media divide for purely product line diversification (merchandising), 'true' transmedia is designed in preproduction with the intent of immersion rather than simply rehashing IP in post for maximum ROI.[5]

In his book Convergence Culture[6], Jenkins further describes transmedia storytelling as storytelling across multiple forms of media with each element making distinctive contributions to a fan's understanding of the story world. By using different media formats, transmedia creates "entrypoints" through which consumers can become immersed in a story world. The aim of this immersion is decentralized authorship, or transmedial play [7] as defined by Dinehart. Transmedia Storyteller Jeff Gomez defines it as "the art of conveying messages themes or storylines to mass audiences through the artful and well planned use of multiple media platforms."[8]
[edit]References

^ http://www.lunchoverip.com/2008/05/from-crossmedia.html
^ http://books.google.com/booksid=raDNu1lThHQC&printsec=frontcover&source=gbs_v2_summary_r&cad=0#v=onepage&q&f=false
^ http://www.technologyreview.com/biomedicine/13052/page1/
^ http://www.lunchoverip.com/2008/05/from-crossmedia.html
^ http://interactive.usc.edu/members/edinehart/archives/%20SED_ThesisPaper_V152.doc
^ Jenkins, Henry. Convergence Culture: Where Old and New Media Collide. New York University Press. New York. 2006
^ http://exploratorium.interactivenarrativedesign.com/2008/05/transmedial-play-cognitive-and-cross-platform-narrative/
^ Starlight Runner Website
[edit]External Links

Transmedia Developer Starlightrunner
Transmedia Story Studio NarrWare
Convergence Culture Consortium (C3)
Futures of Entertainment 4
Henry Jenkins Blog
Transmedia Lab
The Narrative Design Exploratorium
TEDxTransmedia
Categories: Storytelling | Transmedia | Multimedia works

This page was last modified on 12 August 2010 at 19:23.