Marketing cross media: towards a narrative interpretation of experience(s)

  • 592 views
Uploaded on

presentation at the Cross Media Storytelling Conference, Mechelen, November 2007

presentation at the Cross Media Storytelling Conference, Mechelen, November 2007

  • Full Name Full Name Comment goes here.
    Are you sure you want to
    Your message goes here
    Be the first to comment
No Downloads

Views

Total Views
592
On Slideshare
0
From Embeds
0
Number of Embeds
1

Actions

Shares
Downloads
0
Comments
0
Likes
2

Embeds 0

No embeds

Report content

Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
    No notes for slide

Transcript

  • 1. MARKETING CROSS MEDIA: TOWARDS A NARRATIVE INTERPRETATION OF EXPERIENCE(S) A presentation by Valentina Rao @ Factory Girl
  • 2. Cross media often marketed as “experience”
    • A fashion (experience economy)
    • A general term to define something otherwise difficult to place
    • Shares some features with products from experiential and viral marketing, also employing multiple media
    • More specifically ,
    • WHAT DO WE ACTUALLY MEAN WITH “EXPERIENCE”?
  • 3. Experience is… Location-based entertainment, “brandscaping”
  • 4. Brand enactment Experience is…
  • 5. Cross media storytelling (as a whole) Experience is…
  • 6. brand transmedial story transmedial world franchise (Hollywood) experience marketing viral experience design (web) everyday language philosophy psychology architecture virtual reality gameplay
  • 7.
    • In recent times we have seen a convergence between brand building and entertainment, as now they both have the goal of telling stories: “Companies will become story owners rather than product owners”
    • (R.Jensen, “The Dream Society”)
    • At the same time, stories (and the experiences that enact them) are “the fourth commodity”, thus stories (and experiences) are products
    • (Pine/Gilmore, “The Experience Economy”)
    • Experience is then:
    • a) a storytelling form
    • b) a unit - with regards to production, but also with regards to narrative
  • 8. A proposal: experience as a narrative form
    • Theatre -> play
    • Writing -> novel, short story
    • Cinema -> feature film, short film
    • TV -> episode, spot, videoclip
    • Internet -> website, blog, wiki
    • Cross media -> experience?
    • When we look for a narrative form specific to cross media, we are confronted with the notion of experience
  • 9. “ experience” versus “AN experience”
    • flow of consciousness
    • individual
    • continuously reassembled into narrative structure (Bruner)
    • isolable sequence of external events and
    • internal responses
    • intersubjective articulation of individual
    • experience, with beginning and end (Dilthey)
    • act of meaning (Turner)
    • aesthetic/deliberate construction (Bakhtin)
    • features something worth telling
    • (Bruner/Labov)
    “ experience” “ An experience”
  • 10.
    • The aim of experiential marketing (and cross media) is to reach costumers/users at a personal level; this is done by exploiting the ambiguity of “experience”
    • While producing “an experience”, that product becomes part of the everyday experience of the user, because they are both faces of the same medal, the perception + cognition of the user
  • 11. How does experience work as narrative? We can already identify some components of cross media storytelling as objects of future investigation:
  • 12.
    • Storyworld/transmedial world(Klastrup/Tosca)/”stage” (Pine/Gilmore)
    • Story/transmedial story (Jenkins)
    • Medium
    • Genre
    • Theme
    • Topic
    • Architecture of participation/
    • ” -ing the thing”(Pine/Gilmore)/
    • ” rules” (among others CTA and PRIM/Dena)
    • Mode
    • Tense
    Design Experience the experience (perception) Personal level (cognition and personal expression)
    • 4 threads:
    • sensual
    • emotional
    • compositional
    • spatio-temporal
    • (McCarthy/Wright)
    • immediate
    • reconfiguration
    • into narrative
    • thought (M.Turner)
    • “ gameplay”
    • Personal sphere
    • Cognitive act
    • /perceive/learn
    • Draw personal meaning
    • (Shedroff)
    • Act of meaning (Turner)
    • Personal expression
    • Re-telling of “hard-won
    • meaning” (Turner)
    • Create self-identity
    • Objectify subjective
    • stories = create
    • conversational capital
    Dialogue between “macro” and “micro” stories
  • 13. Main types of narrative in experience(s):
    • Environmental/emerging storytelling
    • Conversational storytelling
    • Collaborative storytelling
  • 14. Environmental storytelling
    • The Quest model
    • Two kinds of narrative at the same time:
    • Enacted - unstructured narrative controlled by the players
    • as they explore the story space
    • Embedded - pre-structured but embedded within the mise en
    • scene awaiting discovery
    • (Jenkins 2003)
    • “ Tourists come back with souvenirs, explorers return with stories” (Brand Experience Lab)
  • 15. Conversational storytelling
    • Storytelling naturally happens in a conversational context
    • Conversational storytelling is the result of a constant negotiation between the teller and the listeners; the flow, if not the content, of the conversation is determined by feedback
    • In cross media storytelling, a conversation can happen between “macro” stories and “micro” stories, and between different story agents
  • 16. Collaborative storytelling
    • Stories emerge spontaneously
    • Different modes of participation: game, collaboration towards a common goal (wikis, role playing games, fan fiction, world building (WofW), religious stories and more)
    • Popular goals: collective construction of tradition and history, collective identity construction (the latter exploited by brands to build brand identity)
  • 17. CONCLUSIONS/1
    • When cross media storytelling is marketed as “experience”, it suffers from the indistinctness of the term, and from the analogy with marketing “experiences”
    • On the other hand, “experience” is the only (narrative) concept large enough to encompass all different aspects of cross media storytelling while retaining a centric perspective
  • 18.
    • Although “experience” isn’t usually considered narrative, in the last years narrative theory has come closer to cognitive psychology to develop indeed a narrative argument for experience
    • The adoption of the notion of “experience” as a narrative form, once released from all fuzzy meanings acquired in other contexts, could be of use to better understanding the dynamics of cross media storytelling
    CONCLUSIONS/2
  • 19. Thank you for your attention! inarao @ factorygirl .it www. factorygirl .org www. factorygirl .org/ gamesacrossmedia