Teaching Old Brands New Tricks with Transmedia Storytelling (2/2)


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Henri Weijo (PhD candidate at Aalto University School of Economics, Department of Marketing) explores transmedia storytelling, showing how many of its practices have already become commonplace in today's marketing. However, at the end of the presentation I outline ideas on where brands should be going next to really leverage transmedia. Part 2 / 2.

Published in: Business, News & Politics

Teaching Old Brands New Tricks with Transmedia Storytelling (2/2)

  1. 1. Teaching OldBrands New Trickswith TransmediaStorytelling (2/2)Henri WeijoAalto University, Marketing Dept. Luxus Digital Week, 8.2.2012
  2. 2. NOTE: I had to split this presentation into two (and take away some of the graphics) because of Slideshare’s upload limit… sorry. The original was, of course, one presentation.
  3. 3. A fewexamples"
  4. 4. The classic examples
  5. 5. Transmedia storytelling•  Transmedia changes the focus of (marketing) planning, the idea of “world building”  create a rich brand that can be extended almost indefinitely•  “In transmedia each medium does what it does best” (Jenkins, 2006)  influences the selection of ”where the story goes next” (e.g.TV vs. games?)•  Key ideas: mystery, drillability, spreadability, continuity, immersion, independence of works and subjectivity
  6. 6. ”   A good character can sustain multiple narratives and thus lead to a successful movie franchise. A good ’world’ can sustain multiple characters (and their stories) and thus successfully launch a transmedia franchise.”
  7. 7. In practice (24)Scolari (2009)
  8. 8. Two things above all•  “Negative capability”: strategic gaps in storytelling that entice consumers to participate, speculate on “unanswered questions”, create content etc. (Long, 2007)•  “Migratory cues”: (often aesthetic) cues that link different texts together, consumers use them to “navigate” the world (Dineheart, 2008)•  Balancing participation and storytelling!
  9. 9. ”Lost” was masterful increating negative capability,some questions were in factnever answered
  10. 10. “Migratory cues” the Matrix hadeunique aesthetics and tonal style
  11. 11. •  Transmedia is not only about long term big franchises, it can be campaign-based, too•  Most marketers are familiar with transmedia through alternate reality games (ARGs, kinda ”transmedia light”)•  This is probably the most famous example…
  12. 12. #1 advantage of transmedia*•  Transmedia allows “tiering”, different levels of consumer particiaption  ”real fans” get more engagement opportunities, but you don’t lose the casual fans•  Transmedia is really demanding for consumers, almost too demanding*Aside from the business synergy opportunities, that is
  13. 13. The typical disclaimer:”   The overwhelming majority of these examples are from the entertainment industry. A ’regular’ brand could never have a transmedia strategy!” Or could it?
  14. 14. As said, a lot of ”transmedia practices” have already crept into contemporary marketing communications(as seen during Super Bowl 2012)
  15. 15. Probably the most impressive contemporary (integrated) marketing campaign (that isn’t from the entertainment industry) that featured transmedia elements was...
  16. 16. While brands have already learned a lot, I still argue that there needs to be a change in brand thinking for brands to fully to embrace transmedia!
  17. 17. The goal should be:From: ”How …to: ”How to to get get our transmedia brand to to work work with with our transmedia? brand?”…
  18. 18. Remember, archetypes as the catalyst for participation was the lesson most marketers have missed (in my opinion)
  19. 19. ”   Will transmedia storytelling enrich popular culture or make it more formulaic?” (I think: both, depending on how you look at it)
  20. 20. Transmedia 2012?•  There’s a sense that the “hype” has died•  ARGFest 2010: “ARGs are dead”  feeling that transmedia isn’t all that it could be•  Was transmedia a fad or did it just get incorporated into the entertainement biz + branding?
  21. 21. In conclusion•  Media business conglomeration and media culture evolution drive this change•  Pop culture / marketing becoming increasingly self-referential and formulaic  this is also what drives participation•  Brands have already learned a lot, but definitely could learn more!
  22. 22. Q&A?(this presentation will be available on my Slideshareaccount, just google ”Henri Weijo Slideshare” orsomething)
  23. 23. In particular, check out thesetransmedia PhDs:•  Geoffrey Long (2007) on migratory cues and negative capability •  Christy Dena (2009) on Transmedia practice•  (both are available online)
  24. 24. Some resources•  http://henryjenkins.org/2007/03/ transmedia_storytelling_101.html•  http://blogs.middlebury.edu/mediacp/•  http://henryjenkins.org/2009/08/ transmedia_storytelling_and_en.html•  http://dspace.mit.edu/bitstream/handle/ 1721.1/39152/166227980.pdf?sequence=1•  http://cms.mit.edu/research/theses/ IvanAskwith2007.pdf•  http://henryjenkins.org/2006/12/ how_transmedia_storytelling_be.html•  http://www.cultureby.com/trilogy/2005/12/ transmedia_bran.html