Cross media experiences - from X factor to Harry Potter

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Cross media experiences - from X factor to Harry Potter

  1. 1. Cross media experiences from X factor to Harry Potter © 2012. Kjetil Sandvik, associate professor, Media, Cognition and Communication, University of Copenhagen
  2. 2. Cross media communication• Collaborative interplay between different media• Each media playing its specific role and delivering its part of the overall story• Putting to play the specific strengths of each media (the media does what it does best!)
  3. 3. Cross media communication• It is about getting through to the user• It is about giving the user a broader and richer media experience• It is about giving the user the possibility to get engaged and to be involved in the media experience on different levels and to various degrees• It is about giving the user the possibility for participation and co-creation.
  4. 4. The elements of the media cirquit (John Fiske 1987)• the primary text (the movie/tv-series)• the secondary text (pr/marketing, background material, bonus material: surrounding the primary text)• the tertiary text (the user’s own texts: are produced on the background of the primary and secondary text)• Cross media productions (and their new media cirquits) changes this hierarchy
  5. 5. New media cirquits• Cross media production:• Connects primary, secondary and tertiary texts into one common media text• Embeds possibilities for participation• Uses several communication matrixes: • One-to-many (the TV show in itself) • One-to-one (chats) • Many-to-many (debate forums, quizzes, games…) • One-to-one-as-group (communities on e.g. FB)• Attempt to create a sense of belonging in the user based on identification AND interaction
  6. 6. Convergence culture• This circulation of media content - across different media systems, competing media economies, and national borders - depends heavily on consumers active participation.• Convergence should NOT be understood primarily as a technological process bringing together multiple media functions within the same devices.• Instead, convergence represents a cultural shift as consumers are encouraged to seek out new information and make connections among dispersed media content. » Henry Jenkins
  7. 7. Cross media experiences• Experience through • engagement and identification • participation • collaboration • co-creation• Two types of cross media experience • Experience + (the augmentation of experience of one specific media by implementing other media in the communication-structure, e.g. a website to a TV-show) • Experience universe (interplay between different media: e.g. book, movies, games)
  8. 8. Experience + X factor
  9. 9. Engagement and identification• The use of the TV media’s strenghts: ‘Storytelling classic’ to create emotional intensification – A dramatic plot: the contest-format – The use of classical dramatic agents (most prominent in the first two seasons of the show): the good vs. the bad – Use of personal and emotionally loaded stories – Use of emotionally manipulative editing: production of ’magic moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears and more tears… – Website: augmentary media with a surplus of background materials about participants, their reactions to the judges and so on: extends the possibility for engagement and interaction and introduces a possibility for participation (guestbooks, chats, blogs…) – Web 2.0: connecting and spreading the experience through the users’ own networks
  10. 10. There can only be one winner… 10
  11. 11. Engagement and identification• The use of the TV media’s strenghts: ‘Storytelling classic’ to create emotional intensification – A dramatic plot: the contest-format – The use of classical dramatic agents (most prominent in the first two seasons of the show): the good vs. the bad – Use of personal and emotionally loaded stories – Use of emotionally manipulative editing: production of ’magic moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears and more tears… – Website: augmentary media with a surplus of background materials about participants, their reactions to the judges and so on: extends the possibility for engagement and interaction and introduces a possibility for participation (guestbooks, chats, blogs…) – Web 2.0: connecting and spreading the experience through the users’ own networks
  12. 12. The good… …the bad… …and the crybaby
  13. 13. 13
  14. 14. Engagement and identification• The use of the TV media’s strenghts: ‘Storytelling classic’ to create emotional intensification – A dramatic plot: the contest-format – The use of classical dramatic agents (most prominent in the first two seasons of the show): the good vs. the bad – Use of personal and emotionally loaded stories – Use of emotionally manipulative editing: production of ’magic moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears and more tears… – Website: augmentary media with a surplus of background materials about participants, their reactions to the judges and so on: extends the possibility for engagement and interaction and introduces a possibility for participation (guestbooks, chats, blogs…) – Web 2.0: connecting and spreading the experience through the users’ own networks
  15. 15. The Outsider taking the prize 15
  16. 16. Engagement and identification• The use of the TV media’s strenghts: ‘Storytelling classic’ to create emotional intensification – A dramatic plot: the contest-format – The use of classical dramatic agents (most prominent in the first two seasons of the show): the good vs. the bad – Use of personal and emotionally loaded stories – Use of emotionally manipulative editing: production of ’magic moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears and more tears… – Website: augmentary media with a surplus of background materials about participants, their reactions to the judges and so on: extends the possibility for engagement and interaction and introduces a possibility for participation (guestbooks, chats, blogs…) – Web 2.0: connecting and spreading the experience through the users’ own networks
  17. 17. Engagement and identification• The use of the TV media’s strenghts: ‘Storytelling classic’ to create emotional intensification – A dramatic plot: the contest-format – The use of classical dramatic agents (most prominent in the first two seasons of the show): the good vs. the bad – Use of personal and emotionally loaded stories – Use of emotionally manipulative editing: production of ’magic moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears and more tears… – Website: augmentary media with a surplus of background materials about participants, their reactions to the judges and so on: extends the possibility for engagement and interaction and introduces a possibility for participation (guestbooks, chats, blogs…) – Web 2.0: connecting and spreading the experience through the users’ own networks
  18. 18. 20
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  22. 22. Engagement and identification• The use of the TV media’s strenghts: ‘Storytelling classic’ to create emotional intensification – A dramatic plot: the contest-format – The use of classical dramatic agents (most prominent in the first two seasons of the show): the good vs. the bad – Use of personal and emotionally loaded stories – Use of emotionally manipulative editing: production of ’magic moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears and more tears… – Website: augmentary media with a surplus of background materials about participants, their reactions to the judges and so on: extends the possibility for engagement and interaction and introduces a possibility for participation (guestbooks, chats, blogs…) – Web 2.0: connecting and spreading the experience through the users’ own networks: RSS-feeds, apps for mobile phone, Facebook profile, Twitter profile.
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  29. 29. Live integration ofsocial media duringshows 31
  30. 30. Second Screen 32
  31. 31. Engagement and identification• The use of the TV media’s strenghts: ‘Storytelling classic’ to create emotional intensification – A dramatic plot: the contest-format – The use of classical dramatic agents (most prominent in the first two seasons of the show): the good vs. the bad – Use of personal and emotionally loaded stories – Use of emotionally manipulative editing: production of ’magic moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears and more tears… – Website: augmentary media with a surplus of background materials about participants, their reactions to the judges and so on: extends the possibility for engagement and interaction and Storytelling 2.0 introduces a possibility for participation (guestbooks, chats, blogs…) - participation – Web 2.0: connecting and spreading the experience through the - co-creation users’ own networks: RSS-feeds, apps for mobile phone, Facebook profile, Twitter profile.
  32. 32. X factor cross mediaOther media experience+ May not be (fully) controlled Other DR radio and TV shows Website Backstage TV-show Aftenshowet Updates: Mobile phone RSS, app, FB, Twitter Live events Viewers DR blogs + Aftenshowet’s and other Red arrows = participation and co-creation DR TV and radio shows’ website
  33. 33. X factor is more than just at TV show• As a media event X-factor transgresses its boundaries as a stand-alone TV show• It invites the viewer not just to a TV experience but to become a participant in a collective course of events• The viewer can get involved, participate and have influence on several levels• And different media play specific – and coordinated – roles according to their strengths in creating this cross media experience.
  34. 34. Experience universe Harry Potter
  35. 35. Rich media experience• The cross-media story about Harry Potter is not told by one single media which the other media relates to in a hierarchical sense.• Although it all starts with the novels of J.K. Rowlings, the movies based on the novels can be seen quite independent of the novels.• And the games (primarily) based on the movies, may also be played quite independently.• As such the cross-media structure of Harry Potter as an experience universe consists of 7 books, 7 movies and 7 games in three interconnected series each dealing with the same narrative across the 3 media – a year in the life of Harry Potter at the Hogwarts school of sorcery.
  36. 36. Rich media experience• The possibility for engagement and participation is ensured by the implementation of websites related to each novel/movie/game.• The experience is richened by the existence of websites (J.K. Rowling’s own Potter-site, various fansites etc.), books and games relating to the entire Harry Potter-universe across the 7-year episodic plot-structure etc.
  37. 37. JK Books based Games based on Fansites, fx on the entireRowlings the entire Merchan Harry Potter universe, e.g. universe, e.g. official -dise Fan Zone Quidditch LEGO Harrywebsite throuout times Potter Years 1-4 The entire Harry Potter universe Book series Film series Game series Harry Potter Harry Potter Harry Potter and the and the and the Sorcerers Sorcerers Sorcerers Stone Stone Stone (book) (movie) (game) Website Website Website User
  38. 38. Experience universe• As a cross-media production Harry Potter produces not just an augmentation of the experience of a specific media.• It creates an experience universe in which the user is offered a cross media experience in words, moving pictures and interactive action.• Storytelling classic: novels, movies• Storytelling 2.0 (participation): computer games, playable merchandise (e.g. LEGO), interactive features on official websites (e.g. jkrowling.com)• Storytelling 2.0 (co-creation): fan-sites and other forums for users expanding on the HP-universe (e.g. by writing fanfiction)

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