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Aarhus transmedia journalism lecture 2011-08-02
Aarhus transmedia journalism lecture 2011-08-02
Aarhus transmedia journalism lecture 2011-08-02
Aarhus transmedia journalism lecture 2011-08-02
Aarhus transmedia journalism lecture 2011-08-02
Aarhus transmedia journalism lecture 2011-08-02
Aarhus transmedia journalism lecture 2011-08-02
Aarhus transmedia journalism lecture 2011-08-02
Aarhus transmedia journalism lecture 2011-08-02
Aarhus transmedia journalism lecture 2011-08-02
Aarhus transmedia journalism lecture 2011-08-02
Aarhus transmedia journalism lecture 2011-08-02
Aarhus transmedia journalism lecture 2011-08-02
Aarhus transmedia journalism lecture 2011-08-02
Aarhus transmedia journalism lecture 2011-08-02
Aarhus transmedia journalism lecture 2011-08-02
Aarhus transmedia journalism lecture 2011-08-02
Aarhus transmedia journalism lecture 2011-08-02
Aarhus transmedia journalism lecture 2011-08-02
Aarhus transmedia journalism lecture 2011-08-02
Aarhus transmedia journalism lecture 2011-08-02
Aarhus transmedia journalism lecture 2011-08-02
Aarhus transmedia journalism lecture 2011-08-02
Aarhus transmedia journalism lecture 2011-08-02
Aarhus transmedia journalism lecture 2011-08-02
Aarhus transmedia journalism lecture 2011-08-02
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Aarhus transmedia journalism lecture 2011-08-02

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This is a lecture/discussion/groupwork I gave at Aarhus University summer 2011 about Transmedia journalism. If there is such thing :D

This is a lecture/discussion/groupwork I gave at Aarhus University summer 2011 about Transmedia journalism. If there is such thing :D

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  • Open Matrix Reloaded, 365 secs.Open Nokia Webortaasi
  • + Especially the ability to look at something that is not connected to your field by any means and apply that framework or idea is an important skill.+ And an urge to watch Matrix trilogy, Animatrix and read thecomix in order to like Matrix again.
  • Medium as in text, picture, video, sound.
  • Used pictures, videos, audio and text. Coined in the sixties, word of the year in 1995. :D
  • Each franchise entry needs to be self-contained so you don’t need to have seen the film to enjoy the game, animation or comics, and vice versa. At a same time, you create a crossover market that will expand the potential gross.
  • + Cross-promotion and repurposing content is not crossmedia. +The current licensing system typically generates works that are redundant (allowing no new character background or plot development), watered down (asking the new media to slavishly duplicate experiences better achieved through the old), or riddled with sloppy contradictions (failing to respect the core consistency audiences expect within a franchise).
  • +Increasingly, elements are dropped into the films to create openings that will be fully exploited only through other media.+ Like product placement for products that don’t exist!
  • +The world is bigger than the film:The Wachowski brothers built a playground where other artists could experiment and fans could explore.+ In screewriting: “You would pitch a story because without a good story, you didn’t really have a film. After sequels become a hit, you pitched a character because a good character could support multiple stories. Now, you pitch a world because a world can support multiple characters and multiple stories across multiple media.”
  • We started pre-planning 3 months in advance with the writer. The idea was to create the easiest ever calculator, have the writer and few celebs try it out and use it as the base for the story.
  • The calculator in the web. Calculations provided by Natural Intereset and UI from an outsourced company.
  • Monthly supplement ad in newspaper cover Saturday.
  • Cover of Monthly supplement, +1 million readers in 5 million strong country.
  • The story inside had
  • Follow-up story after a week.
  • This is a promotional piece for Operation Earth on Channel 4. Big Finnish household name -celebs here.
  • + Our calculator was one of the biggest hits we’ve had in interactive and the “Finns and values” study noted that Finnswere more aware of their carbon footprint after our story.+ Ratings went from 150.000 to 120.000 and was considered a flop. At the same time, other networks had 550.000 and 900.000 viewers on the same time slot.
  • Spreadability: Play with the content in social media, more eyeballs without engagement.Drillability: geek out or “forensic fandom”
  • Continuity:hardcore fans see this kind of "continuity" as the real payoff for their investment of time and energy in collecting the scattered bits and assembling them into a meaningful wholeMultiplicity allows the character be different in multiple stories. RE-IMAGINATION next spider-man.
  • Transcript

    • 1. Image removed due to copyright<br />Transmedia journalism<br />Aarhus University 2.8.2011Pekka Pekkala<br />
    • 2. Goals of the session<br />Understanding the difference between terms Multimedia and Transmedia (crossmedia, deep media)<br />Taking transmedia framework from entertainment industry and apply it to journalism<br />Understanding the challenges of transmedia production in news environment<br />
    • 3. Multimedia (Oxford) <br />“Using more than one medium of expression or communication.”<br />
    • 4. HS.fi 1999: Nokia collapsing<br />
    • 5. Transmedia (Jenkins 2006)<br />“A transmedia story unfolds across multiple media platforms, with each new text making a distinctive and valuable contribution to the whole.”<br />
    • 6. Transmedia (Jenkins 2007)<br />“Transmedia storytelling represents a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience. Ideally, each medium makes it own unique contribution to the unfolding of the story.”<br />
    • 7. “Franchising a popular film, comic book, or television series is nothing new. Witness the endless stream of plastic figurines available in McDonald’s Happy Meals. Cross-promotion is everywhere.”<br />“Each franchise entry needs to be self-contained so you don’t need to have seen the film to enjoy the game, and vice versa.”<br />
    • 8. Towards co-creation<br />“In co-creation, the companies collaborate from the beginning to create content they know plays well in each of their sectors. the story needs to be conceived in transmedia terms from the start.”<br />
    • 9. Matrix stuff removed for copyright reasons<br />
    • 10. Transmedia in journalism <br />Good transmedia storytelling requires pre-planning or at least a lot of time<br />In news organization, you react.<br />Long-form journalism could do it?<br />
    • 11. Do transmedia principles work on non-fiction stories?<br />
    • 12. HS.fi and carbon footprint<br />Easy, 3-minute online calculator<br />Cover of Monthly supplement, main story<br />Tv-program Operation Earth<br />Got mentioned in Radio Helsinki<br />70.000 calculated in 2 weeks, 30.000 recommended it to friends (before Like!)<br />Follow-up stories<br />
    • 13.
    • 14.
    • 15.
    • 16.
    • 17.
    • 18. Operation Earth video clip removed<br />
    • 19. Lessons learned <br />Within the publication: web multimedia, online news desk, monthly supplement and newspaper worked really well.<br />The tv part failed, both in ratings and as a transmedia experience: our goals never met and tv crew wanted us to promote, not create together.<br />As Erdal says: production and the product are two different things…<br />
    • 20. Seven core principles of transmedia storytelling<br />The Revenge of the Origami Unicorn: Seven Principles of Transmedia StorytellingPART 1 and PART 2<br />
    • 21. 1. Spreadability vs. Drillability<br />Encourages viewers to dig deeper, probing beneath the surface to understand the complexity of a story and its telling<br />Capacity of the public to engage actively in the circulation of media content through social networks and in the process expand its economic value and cultural worth. <br />
    • 22. 2. Continuity vs. Multiplicity<br />Contributes to our appreciation of the "coherence" and "plausibility" of their fictional worlds.<br />Allows fans to take pleasure in alternative retellings, seeing the characters and events from fresh perspectives.<br />
    • 23. 3. Immersion vs. Extractability<br />The ability of consumers to enter into fictional worlds. <br />The fan takes aspects of the story away with them as resources they deploy in the spaces of their everyday life.<br />
    • 24. 4. Worldbuilding<br />First, you pitched a story to make a film<br />After sequels, you pitched a character that can support multiple stories<br />Now you pitch a world, because a world can support multiple characters and stories in across multiple media<br />
    • 25. 5. Seriality: Sequencing of transmedia components. Do we really have to be able to consume them in any order we like?<br />6. Subjectivity: telling the story from another point of view, e.g. secondary character.<br />7. Performance: in a story, design spaces for active fan participation.<br />
    • 26. Afternoon workshop <br />Imagine a feature story that would work better with transmedia storytelling than with traditional forms.<br />Remember: Repurposing content is not transmedia. All parts must work also individually. How about using mobile as a part? <br />More help from Jenkins – “Seven core principles of transmedia storytelling”<br />

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