Web Series and Transmedia Aesthetics: The Participatory Off-screen

630 views
552 views

Published on

Presentation at Videovortex 4, Split, 22/23 May 2009

Published in: Education, Technology
0 Comments
1 Like
Statistics
Notes
  • Be the first to comment

No Downloads
Views
Total views
630
On SlideShare
0
From Embeds
0
Number of Embeds
13
Actions
Shares
0
Downloads
0
Comments
0
Likes
1
Embeds 0
No embeds

No notes for slide

Web Series and Transmedia Aesthetics: The Participatory Off-screen

  1. 1. WEB SERIES AND TRANSMEDIA AESTHETICS: THE PARTICIPATORY OFF-SCREEN Valentina Rao / Factory Girl Games @ Video Vortex 4 23/05/ 2009
  2. 2. The lonelygirl15 universe vlogs (hoax) UGC contributions Alternate Reality Games LGpedia The series (YouTube, Revver, MSN, MySpace) Mini-games The Hymn of One boarding school 110 millions combined views MySpace profiles Live video chats Insider’s Blog
  3. 3. Elements of transmedia narrative <ul><li>Reception is ergodic </li></ul><ul><li>Mixes real life (for instance, the forums) with fiction (the videoblog) </li></ul><ul><li>Alternates non-diegetic moments with diegetic moments </li></ul><ul><li>Digital rhetoric employs different kinds of texts: </li></ul><ul><li>visual, verbal (written/oral), procedural </li></ul>
  4. 4. Elements of transmedia narrative/2 <ul><li>Playfulness (not necessarily “play”) </li></ul><ul><li>Conversation (forums, blogs, videoblogs, IRCs, YouTube share) </li></ul>
  5. 5. Narrative dynamics of lonelygirl15: the apparatus <ul><li>Metz - apparatus is: </li></ul><ul><li>The technology </li></ul><ul><li>The conditions of vision (for instance the film projection) </li></ul><ul><li>Narrative as a text that positions the spectator in a role </li></ul><ul><li>“ mental machinery”; the psychology of the spectator </li></ul><ul><li>Cognitive film theory: </li></ul><ul><li>Cinema (and video) refer to the body: we understand film narrative because it follows the same dynamics of attention employed in everyday life </li></ul>
  6. 6. <ul><li>Cinema of attractions: the body is confronted with the technology - the spectator is not immersed in the film </li></ul>Reception: a brief overview
  7. 9. <ul><li>Classical cinema: suspension of disbelief, immersion - the Self is forgotten (and so is the spectator by the film) </li></ul>
  8. 10. <ul><li>Secondary identification: identification with the characters </li></ul><ul><li>Editing (shot-reverse shot) create a narrative space and positions the spectator in the fictional world </li></ul>
  9. 11. <ul><li>Identification in web reception: telepresence </li></ul><ul><li>Personal ID - strong sense of Self </li></ul><ul><li>Gameplay (procedural) dynamics </li></ul>Where is the spectator in web reception? And what about transmedia?
  10. 12. From place to place
  11. 13. Suture and immersion <ul><li>Suture is a spatial concept and a psychological concept - all imaginary space has to be filled with something and spectators need to know where (and who) they are </li></ul>
  12. 15. <ul><li>Spectator is “sutured in the role of “you” by the images </li></ul><ul><li>Little or no narrative space in the images </li></ul><ul><li>Different elements in different (virtual) places refer to each other </li></ul><ul><li>Ergodic reception requires to move across several places (both virtual and real) - diegetic dimension expands in everyday life </li></ul>
  13. 16. <ul><li>So.. the off-screen (the spectator’s place) refers to: </li></ul><ul><li>A biological reality </li></ul><ul><li>A psychological reality </li></ul><ul><li>And now also a social reality (the spectator is considered in a social context) </li></ul>
  14. 17. THANK YOU FOR YOUR ATTENTION! Valentina Rao/Factory Girl Games inarao@factorygirl.it

×