Thomas Russell and Seb Kemmerer - Transmedia Research Presentation 2013


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Thomas Russell and Seb Kemmerer - Transmedia Research Presentation 2013

  1. 1. When doesTransmedia Storytellingbecome…
  3. 3. How can we distinguishone from the other?• Cross-media marketing “delivers relevantcontent and a call to action through multiplemedia simultaneously as an integratedcampaign”• Transmedia Storytelling: “different channels…communicate different things… with anemphasis on putting the brand community atthe center”Source:’s-the-difference-between-cross-media-marketing-and-transmedia-storytelling/
  4. 4. An Overview• 2007/2008 WGA strikers challenged positiveimage of webisodes• Television promotion and digital contentcannot be separated.“Nearly all of the digital shorts found on televisionnetworks’ and studios’ websites and mobile portalspromote something” – Max DawsonSource:
  5. 5. Research Path• Initial claim: ‘a TM text is concerned eitherwith expanding on a story hyperdiegesis orpromoting the core text/relevant TM’• Revised claim: ‘a TM text will inevitably displaymodes of story expansion and promotion butwill favour one over the other’• We might think of this in terms of a…
  6. 6. … a Storytelling/Promotion SpectrumMostlyStorytellingMostlyPromotional
  7. 7. The TM Texts• The Rookie:24 spin-offwebseries•• Dexter Early Cuts:Dexter spin-offwebseries•
  8. 8. The Rookie (2007 – 2008)• Three seasons, twelve episodes.• Season 1 released January 15th 2007, the dayafter the premiere of 24 season 6.• Produced by a multinational consumerproducts corporation Unilever and 20thCentury Fox, who promoted Unilever’s‘Degree for Men Deodorant’ (promotionalmotives).
  9. 9. The Rookie: Style and Aesthetics• Uses licensed digitalcountdown andgraphics, score, sound effects.• 24’s DOPProblems:• Ellipses• ToneSeason 1 Show time Real timeEpisode 1 10 minutes 2.5 minutesEpisode 2 2 minutes 2 minutesEpisode 3 9 minutes 2 minutesSeason 2Episode 1 30 minutes 3 minutesEpisode 2 15 minutes 3 minutesEpisode 3 15 minutes 4 minutesSeason 3Episode 1 5 minutes 4 minutesEpisode 2 5 minutes 5 minutesEpisode 3 6 minutes 6 minutesEpisode 4 4 minutes 5 minutesEpisode 5 3 minutes 3 minutesEpisode 6 5 minutes 7.5 minutes
  10. 10. The Rookie and 24• “The Rookie [is] situated a long way from thecentral axis: the first one is located inWashington, DC and the second includes onlysome of the characters from the TV show (andnot Jack Bauer, the main character).” – CarlosAlberto Scolari• Extends franchise to mobile consumers whodo not have the time to dedicate to 24 (whichto totals 1008 minutes in duration)Source: Alberto Scolari, C. Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Production.International Journal of Communication 3 (2009), 586-606
  11. 11. Dexter Early Cuts (2009 – 2012)• Seasons 1, 2 and 3 written by Dexter writersLauren Gussis, Tim Schlattman and ScottReynolds respectively.• Features voice acting from Dexter cast MichaelC. Hall.• Example of Carlos Alberto Scolari’s ‘interstitialmicrostories’: expands on period beforetelevision series.Source: Alberto Scolari, C. Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Production.International Journal of Communication 3 (2009), 586-606
  12. 12. From TV to YouTube: Dexter• Dexter: Live-action hour-length episodes.• Dexter Early Cuts: animated 2-3 min episodes
  13. 13. Functional Uniqueness• “Functional uniqueness can be understood asfeatures of the online video platforms that arebetter – or simply different from television –in terms of satisfying consumer needs.” – Chaand Chan-Olmsted• Dexter Early Cuts satisfies consumers because:– It has different features to TV (stylistic animation)– Gratifies where TV show cannot (prequel)Source:
  14. 14. … the resultMostlyStorytellingMostlyPromotionalThe Rookie Dexter Early Cuts
  15. 15. What does this mean for us?• All transmedia should promote migratoryconsumption (strong narrative links that pointtoward content in other channels).• If a story is not represented in the same wayacross all media, it loses credibility.• Think about the audience: functionaluniqueness and affective economics.
  16. 16. Henry Jenkins: ‘Affective Economics’• “a new configuration ofmarketing theory…which seeks tounderstand theemotional underpinningsof consumer decisionmaking as a driving forcebehind viewing andpurchasing decisions”Textbook JenkoSource: Jenkins, H. ‘Buying into American Idol’ in Convergence Culture: Where Old and New Media Collide. NYU Press, 01/08/2006