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Transmedia Storytelling - A Theoretical Framework
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Transmedia Storytelling - A Theoretical Framework

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This presentation was given at Confab Central 2014 by Felicia Pride of pride collaborative (www.pridecollaborative.com). ...

This presentation was given at Confab Central 2014 by Felicia Pride of pride collaborative (www.pridecollaborative.com).

Even if you’ve heard of transmedia, chances are you’re unsure of how it can be effectively used by organizations to engage with multiple stakeholders. In this interactive presentation, participants will explore what transmedia is and what it isn’t, and delve into how companies can incorporate transmedia theories—cross-platform engagement, participation, immersion, and democratization—to engage multiple stakeholders and reach new constituents.

Hear successful examples of how transmedia is used.
Learn how to integrate content efforts across multiple channels.
Consider methods to tell a more cohesive, engaging, and inclusive story.

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Transmedia Storytelling - A Theoretical Framework Transmedia Storytelling - A Theoretical Framework Presentation Transcript

  • TRANSMEDIA STORYTELLING Photo By Simone D. Mccourtie / World Bank | via Flickr using a Creative Commons license Felicia Pride | @feliciapride Pride Collaborative www.pridecollaborative.com felicia@pridecollaborative.com
  • Photo By Photo by Alexandria Lentz | via Flickr using a Creative Commons license "MYTHS ARE PUBLIC DREAMS; DREAMS ARE PRIVATE MYTHS.” - JOSEPH CAMPBELL FELICIA PRIDE | PRIDE COLLABRATIVEWWW.PRIDECOLLABORATIVE.COM | @FELICIAPRIDE
  • “But there has been also theAmerican dream, that dream of a land inwhichlife should be better and richer and fuller for every man, withopportunity for each according to hisability or achievement.” Photo By Steven Lee | via Flickr using a Creative Commons license - James TruslowAdams inhis 1931 book Epic ofAmerica FELICIA PRIDE | PRIDE COLLABRATIVEWWW.PRIDECOLLABORATIVE.COM | @FELICIAPRIDE
  • Photo By Photo by Alexandria Lentz | via Flickr using a Creative Commons license “Mythologiesareinfactthepublicdreamsthatmoveand shapesocieties,andconverselyone’sowndreamsare thelittlemythsoftheprivategods,antigods,andguardian powersthataremovingandshapingoneself:revelations oftheactualfears,desires,aimsandvaluesbywhich one’slifeissubliminallyordered.” -JOSEPHCAMPBELL FELICIA PRIDE | PRIDE COLLABRATIVEWWW.PRIDECOLLABORATIVE.COM | @FELICIAPRIDE
  • “Overall,41%ofadultsare‘newsparticipators,’ meaningthattheyemaillocalstoriestoothers, postnewsorinformationaboutthelocal communityonsocialnetworkingsitesorTwitter, commentonlocalstoriestheyreadonline, contributetoonlinediscussionsonmessage boardsaboutthelocalcommunity, andthelike.” Photo by Charlotte Kesl / World Bank | via Flickr using a Creative Commons license FELICIA PRIDE | PRIDE COLLABRATIVE PEW RESEARCH CENTER WWW.PRIDECOLLABORATIVE.COM | @FELICIAPRIDE
  • Photo by Charlotte Kesl / World Bank | via Flickr using a Creative Commons license PEW RESEARCH CENTER FELICIA PRIDE | PRIDE COLLABRATIVE “Youngeradultinternetusersaretwiceaslikelyastheirolder counterpartstopostandsharevideosonline.” “54%ofinternetusershavepostedoriginalphotosorvideosto websitesand47%sharephotosorvideostheyfound elsewhereonline.Youngadultsandwomenleadthewayin eachoftheseactivities.” “37%ofallteensages12-17havesmartphones,upfromjust 23%in2011.” WWW.PRIDECOLLABORATIVE.COM | @FELICIAPRIDE
  • Photo by Charlotte Kesl / World Bank | via Flickr using a Creative Commons license FELICIA PRIDE | PRIDE COLLABRATIVE “THE FUTURE OFSTORYTELLING” -LATITUDE “ThemostpopularsecondscreeninteractionsforTV showstendtobegoal-oriented,suchasearningrewards (80%interested),votingtodecideashow’soutcome(79%), ormakingapurchase(76%).” “67%saythatusingasecondscreentointeractwithTV contentwouldincreasetheiroverallTVviewing;this includes63%of35-59year-olds.” WWW.PRIDECOLLABORATIVE.COM | @FELICIAPRIDE
  • Photo by Charlotte Kesl / World Bank | via Flickr using a Creative Commons license FELICIA PRIDE | PRIDE COLLABRATIVE “THE FUTURE OFSTORYTELLING” -LATITUDE “87%wanttoseeeventsthroughtheeyesofaparticular characterortoswitchbetweendifferentcharacters’points- of-view.” “78%wantto"friend"acharacterdigitally(e.g.,receive Facebookupdates,textmessages,etc.),withtheabilityto swaythecharacter’sdecisions—justaswitharealfriend.” WWW.PRIDECOLLABORATIVE.COM | @FELICIAPRIDE
  • Photo by Charlotte Kesl / World Bank | via Flickr using a Creative Commons license FELICIA PRIDE | PRIDE COLLABRATIVE “THE FUTURE OFSTORYTELLING” -LATITUDE “91%saynarrativeswitha"real-time"story-worldwould motivatethemtotuneinmoreoftentoensuretheyweren’t missinganything.” “94%feelcompaniesshouldtreatthe"realworld"(e.g., places,people,orobjects)asanotherplatformthatcan interactwithcontenttheyviewonotherdevices.Thisstands outasaparticularlycompellingopportunityforretailerswith physicallocations.” WWW.PRIDECOLLABORATIVE.COM | @FELICIAPRIDE
  • Photo by Endre Vestvik | via Flickr using a Creative Commons license FELICIA PRIDE | PRIDE COLLABRATIVE “Transmedia storytelling representsaprocess whereintegral elementsofafictionget dispersedsystematically acrossmultiple delivery channelsfor thepurpose ofcreatinga unifiedandcoordinatedentertainment experience.Ideally, eachmedium makesit ownunique contribution totheunfolding of thestory.” -HenryJenkins WWW.PRIDECOLLABORATIVE.COM | @FELICIAPRIDE
  • Photo by Endre Vestvik | via Flickr using a Creative Commons license “Transmedia referstoasetofchoicesmade aboutthebestapproachtotellaparticular story toaparticular audienceinaparticular context dependingontheparticular resourcesavailable toparticular producers.” -HenryJenkins FELICIA PRIDE | PRIDE COLLABRATIVEWWW.PRIDECOLLABORATIVE.COM | @FELICIAPRIDE
  • Photo by Fr Lawrence Lew, O.P. | via Flickr using a Creative Commons license RESEARCH & DEVELOPMENT FELICIA PRIDE | PRIDE COLLABRATIVEWWW.PRIDECOLLABORATIVE.COM | @FELICIAPRIDE
  • “The vast majority of films are underdeveloped. Story R&D is an amazing opportunity to richly develop the stories that I want to tell. It allows you to go through various phases, seeing if the story works, getting feedback, building relationships with audiences. I try different things to see what they like and what they don’t like. That’s not to say that I only do what audiences like, but it’s a great way to rehearse with actors, get a sense of the world, build the experience, collaborate and try something in the real world and online—a better way to develop the storyworld. There’s a level of complexity to transmedia, so it’s a way to refine the process. Transmedia isn’t just a checklist—here’s the mobile, the game, the social media. I want to understand each of these elements and how they fit into the story—what makes them stronger, not just as individual pieces, but as a whole.” Photo by Fr Lawrence Lew, O.P. | via Flickr using a Creative Commons license –LANCEWEILER FELICIA PRIDE | PRIDE COLLABRATIVEWWW.PRIDECOLLABORATIVE.COM | @FELICIAPRIDE
  • Photo by Fr Lawrence Lew, O.P. | via Flickr using a Creative Commons license WORLDBUILDING FELICIA PRIDE | PRIDE COLLABRATIVEWWW.PRIDECOLLABORATIVE.COM | @FELICIAPRIDE
  • Photo By Photo by Alexandria Lentz | via Flickr using a Creative Commons license “ Most often, transmedia stories are based not on individual characters or specific plots but rather complex fictional worlds which can sustain multiple interrelated characters and their stories….This is a very different pleasure than we associate with the closure found in most classically constructed narratives, where we expect to leave the theater knowing everything that is required to make sense of a particular story.” -HENRYJENKINS - FELICIA PRIDE | PRIDE COLLABRATIVEWWW.PRIDECOLLABORATIVE.COM | @FELICIAPRIDE
  • Photo by Fr Lawrence Lew, O.P. | via Flickr using a Creative Commons license FELICIA PRIDE | PRIDE COLLABRATIVEWWW.PRIDECOLLABORATIVE | @FELICIAPRIDE PARTICIPATORY / CO-CREATION
  • Photo by Fr Lawrence Lew, O.P. | via Flickr using a Creative Commons license FELICIA PRIDE | PRIDE COLLABRATIVEWWW.PRIDECOLLABORATIVE | @FELICIAPRIDE CROSS-PLATFORM & EXTENSIONS
  • Photo by Fr Lawrence Lew, O.P. | via Flickr using a Creative Commons license FELICIA PRIDE | PRIDE COLLABRATIVEWWW.PRIDECOLLABORATIVE.COM | @FELICIAPRIDE
  • Photo by Anna | via Flickr using a Creative Commons license Encourages creating a core narrative & world FELICIA PRIDE | PRIDE COLLABRATIVE Ability to continue & extend the story Multiple entry points for multiple stakeholders Harness the power of individual platforms Promotes relevance WWW.PRIDECOLLABORATIVE.COM | @FELICIAPRIDE
  • Photo by Anna | via Flickr using a Creative Commons license Thereisamoralorunderlyingmessage. FELICIA PRIDE | PRIDE COLLABRATIVE Therearecharactersandthesecharactersarecompelling. Somethinghappens. Thissomethinginvolvesconflict. Itevokesemotion. WWW.PRIDECOLLABORATIVE.COM | @FELICIAPRIDE
  • Photo by Anna | via Flickr using a Creative Commons license FELICIA PRIDE | PRIDE COLLABRATIVE What’stheStory? Whataretheelements–message,plot,conflict,characters–ofthisstory? Whoisyouraudienceandwhatdoyouwantthemtodo? Howwillyoutellthestory?Whichtools/platformswillyouuse? Howwillyousharethisstory? Howwillyoumeasureimpact? Howwillyoucontinuethestory? WWW.PRIDECOLLABORATIVE.COM | @FELICIAPRIDE
  • "IF THE AMERICAN DREAM IS TO COME TRUE AND TO ABIDE WITH US IT WILL, AT BOTTOM, DEPEND ON THE PEOPLE THEMSELVES.” Photo By Steven Lee | via Flickr using a Creative Commons license FELICIA PRIDE | PRIDE COLLABRATIVE - JAMES TRUSLOW ADAMS IN HIS 1931 BOOK EPIC OF AMERICA WWW.PRIDECOLLABORATIVE.COM | @FELICIAPRIDE
  • THANK YOU! FELICIA PRIDE | @feliciapride PRIDE COLLABORATIVE | @pridecollab WWW.PRIDECOLLABORATIVE.COM FELICIA@PRIDECOLLABORATIVE.COM Photo by Niels Linneberg | via Flickr using a Creative Commons license