Transmedia storytelling & photojournalism - En


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Introduction Transmedia Storytelling & photojournalism | Visa pour l'image, Perpignan | September 2011
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Transmedia storytelling & photojournalism - En

  1. 1. transmedia photojournalism & - @o2creation
  2. 2. “The event is not whathappens.The event is that whichcan be narrated.Allen Feldman - Formations of Violence
  3. 3. BUT...
  4. 4. Photographic narration is sequential. It brings us a series of events, which are supposed to be connected. Photography fails to create an obvious bond between each of this events and the big picture. We often lose track ofNick Ut/Assoicated Press the overall context.
  5. 5. When you read a story, you need to know the context to learn more about it.David Guttenfelder/Associated Press
  6. 6. What can transmediastorytelling add toyour story
  7. 7. Context(universe)
  8. 8. Experience (interaction)
  9. 9. Leads to Cognitive Process(story+context)x experience= Learning
  10. 10. “For the things we haveto learn before we cando them, we learn bydoing them. Aristotle
  11. 11. Why using Transmediastorytelling? Multiple entry points leads to enriched experience & better exposure. Collaborative work creates new bonds between different kind of public (creators and interactors). Possibility to tell deeper and richer stories. Creates new revenue streams for creators (aka photojournalists).
  12. 12. ?TransmediaStorytellingin the U.S
  13. 13. 1991Marsha KinderThe author of Labyrinth mentions the “commercialtransmedia superstructures” in her book “Playing withPower in Movies, Television, and Video Games” andexplains the power of Transmedia storytelling in theadvertising business. src: Transmedia Memoir - Geoffrey Long
  14. 14. 1999Andy &Larry WachowskiRelease the first episode of “The Matrix”,a fictionnal film franchise based onTransmedia Storytelling. (March)
  15. 15. 1999Daniel MyrickEduardo SanchezRelease of “The Blair Witch Project” based upon aTransmedia narration involving a web plateform &comics (october).
  16. 16. 2003Henry JenkinsMIT media studies professor publishes in the MIT TechnologyReview an article titled “Transmedia Storytelling” in which herefers to the term Transmedia and defines it as “a processwhere integral elements of a fiction get dispersedsystematically across multiple delivery channels”.
  17. 17. 2006Henry JenkinsGoes further in his study in his book “ConvergenceCulture” where he definitively coins the term“Transmedia” which, to him, “immerses an audience ina story’s universe through a number of dispersed entrypoints, providing a comprehensive and coordinatedexperience of a complex story.”
  18. 18. 2010jeff gomezCEO de Starlight Runner Entertainment, successfullypromotes the TRANSMEDIA PRODUCER credit whichhas been officially endorsed in April by the PGA(Producer Guild of America).
  19. 19. Transmedia definitionA Transmedia Narrative project or franchise must consist of Three (or more) narrative storylines existing within the same fictional universe. On any of the following platforms: Film, Television, Short Film, Broadband, Publishing, Comics, Animation, Mobile, Special Venues, DVD/Blu-ray/CD-ROM, Narrative Commercial and Marketing rollouts, and other technologies that may or may not currently exist. These narrative extensions are NOT the same as repurposing material from one platform to be cut or repurposed to different platforms. src: Code of Credits - New Media - Producers Guild of America
  20. 20. definition TransmediaA Transmedia Narrative project or franchise must consist of A strong story, opened, taking place in a rich universe. The use of one medium over the others as a spine for the whole experience. An honest and long term relashionship built with the audience around a reciprocical engagment.
  21. 21. Today TomorowCrossmedia / Transmedia storytelling
  22. 22. Once upon a time... bla bla
  23. 23. Crossmedia bla bla movie bla bla web bla bla bla bla book bla bla comics bla bla game
  24. 24. Crossmedia bla bla movie bla bla web One story repurposed for bla bla bla bla book multiple platforms. bla bla comics bla bla game
  25. 25. transmedia storytelling bla bla comics bla blacreator bla bla web bla bla movie bla bla book bla bla game UGC audience
  26. 26. transmedia bla bla comics One universe, multiple bla bla stories dispersed acrosscreator bla bla web bla bla movie bla bla book multiple platforms bla bla game UGC audience
  27. 27. crossmedia movie franchise game book Whole is LESS than the sum of its parts. Dissatisfaying conclusion to consuming all media.transmedia src: Jeff Gomez Starlight Runners movie book transmedia game The whole is MORE satisfaying than the sum of the parts! Euphoria of collecting the pieces.
  28. 28. examples examples
  29. 29. La ZoneGuillaume Herbaut &Bruno Masi
  30. 30. La ZoneGuillaume Herbaut &Bruno Masi French photographer Guillaume Herbaut and journalist Bruno Masi created an interactive documentary - produced by Agat Films & Cie - about the aftermath of Chernobyl disaster in the close area of Prypiat, Ukraine. Long before the official release, a blog was launched to let the authors talk about the project.
  31. 31. La ZoneGuillaume Herbaut &Bruno Masi A multimedia exhibition was presented to the public at “la Gaîté Lyrique” in Paris.
  32. 32. La ZoneGuillaume Herbaut &Bruno Masi Later on, a photo book has been published by “La Gaîté Lyrique” and les éditions Naïve.
  33. 33. marcus bleasdale VIISEVEN Photographer, Marcus Bleasdale worked on the civil war raging inDemocratic Republic of the Congo.His work, which has been exhibited, extended as a multimedia pieceand a translated into comic strips in the BJP, is the closest example ofTransmedia storytelling
  34. 34. marcus bleasdale VII “ Comic Strips by Paul O’Connell for the British Photography Journal O’Connell thought carefully about how best to approach the work, opting to ‘remix’ Bleasdale’s images into completely new scenes rather than simply redraw them. Katie Louise Dixon
  35. 35. marcus bleasdale VIIAn exhibit has been programmed in Zurich, Switzeland.A book has been published using the photographs he did for “TheHuman Rights Watch” .
  36. 36. marcus bleasdale VIIThe NY based studio MEDIASTORM,produced a multimedia piece in whichthe story is extensively completed byinterviews and videos recorded byBleasdale in RDC.The whole gives a deeper sense of thecontext of Bleasdale’s work.
  37. 37. inside disaster TVO“Inside Disaster” follows the efforts of the Red Cross in Haïti to rebuildthe country and help people. An ARG, an educational website and adocumentary scheduled to be aired in 2011 on TVO (Canada) are part ofthis Transmedia experiment.
  38. 38. inside disaster TVOimmersion, comprehension, interaction The ARG part (Alternate Reality Game) brings the audience in the middle of a destroyed Haiti and let him the choice to play the role either of a journalist, or a humanitarian or of an inhabitant. > You can walk around the city > Interact with the environment > Make your own choices leading to alternate endings
  39. 39. inside disaster TVOeducation, information, extensionThe website provides more informations about the role played by humanitarians,journlalists and the living conditions of Haitian people. It also gives an insight of thedocumentary, how the crew managed to film in haiti and what were the issues meet bythem.
  40. 40. inside disaster TVOinformation, narrationThe documentary is scheduled for broadcastat the beginning of 2011, and will follows threecharacters> A Journalist> A Humanitarian> and an HaitianTo report the reconstruction efforts in Haiti made byinternational NGOs and specially the Red Cross.
  41. 41. collapsus vpro is a Transmedia experience inspired from a Dutchdocumentary about the energy crisis that the Occident should face inthe coming decades.
  42. 42. collapsus vpro -submarineexplanation, information Dutch TV station VPRO addressed the problem of energy crisis through a traditional documentary. But problem: > The audience of the documentary is small. > The target audience is around 55 years and + > There’s a single broadcast channel, which means one chance to watch the documentary.
  43. 43. collapsus vpro -submarinecomprehension, extension,A Youtube channelwas created tosupport & complete > to give better andthe documentary. deeper explainations about the subject.It Allows:> to reach a youngeraudience.> to add entry pointsto the story.
  44. 44. collapsus vpro -submarineimmersion, interactionProduced by Tommy Pallotta, is theresult of a close collaboration between VPRO & Submarine Channel. The website is an hybrid between video, ARG and news. Three different parts: > the Left part is dedicated to the documentary. > the Middle part is the Anim part. > the Right part is left to the fakes “TV news” (but based on real datas)
  45. 45. collapsus vpro -submarine
  46. 46. transmedia activismuse transmedia storytelling to raise awareness on social & publicinterest projects.Example: "Coalition on homelessness of san francisco"
  47. 47. transmedia activism use transmedia storytelling to raise awareness on social & public interest projects. Example: "Coalition on homelessness of san francisco" Usage is similar to “Inside Disaster” a platform dedicated to fictionis used to hook the audience and return it to the factual platform.
  48. 48. transmedia activism use transmedia storytelling to raise awareness on social & public interest projects. Example: "Coalition on homelessness of san francisco" The organization of the narrative uses a layer system where each matches a certain type of content or apiece of the story and where interactivity and monetization can be integrated.
  49. 49. transmedia activism use transmedia storytelling to raise awareness on social & public interest projects. Example: "Coalition on homelessness of san francisco"Narration is extended in the real world using augmented reality which allows more interactivity.
  50. 50. @o2creation