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Transmédia Week- masterclasse

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Présentation de la masterclasse durant la Transmédia Week à la gaîté lyrique en octobre 2013

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Transmédia Week- masterclasse

  1. 1. TRANSMEDIA AU COEUR DE L’HISTOIRE Gerald HOLUBOWICZ - @gholubowicz Nadia BERG - @bergnadia Florent MAURIN - @ThePixelHunt
  2. 2. C’est quoi le Transmedia ??
  3. 3. « TRANSMEDIA: c’est un mot compliqué qui désigne un concept simple: Raconter une histoire sur plusieurs plateformes. » Tim Kring – Createur de Heroes
  4. 4. 199 1 MARSHA KINDER Productrice Executive du “Labyrinth Project” Elle parle de “commercial transmedia superstructures” dans son livre “Playing with Power in Movies, Television, and Video Games” et explique le pouvoir du Transmedia storytelling dans la pub.
  5. 5. ANDY & LANA WACHOWSKI Sortie du premier épisode de “The Matrix”, première franchise basée sur les techniques de Transmedia Storytelling. (Mars)
  6. 6. 199 9 DANIEL MYRICK & EDUARDO SANCHEZ Sortie de “The Blair Witch Project” basé sur une narration Transmedia (octobre).
  7. 7. 200 3 HENRY JENKINS Publie dans le “MIT Technology Review” un article titré “Transmedia Storytelling”. Il définit le “Transmedia” comme un “processus où l’intégralité des éléments d’une fiction sont disséminés à travers multiples canaux de diffusion”.
  8. 8. 200 6 HENRY JENKINS Dans “Convergence Culture” il cerne le terme “Transmedia”. “Une audience est immergée dans un univers à travers une multitude de points d’entrée, donnant ainsi une expérience complète & coordonnée d’une histoire.”
  9. 9. 201 0 JEFF GOMEZ CEO de Starlight Runner Entertainment, impose le crédit TRANSMEDIA PRODUCER auprès de la PGA (Producer Guild of America) qui l’adopte en Mars.
  10. 10. DEFINITION UNE FRANCHISE TRANSMEDIA CONSISTE EN: • Au moins 3 lignes narratives au sein d’un même univers fictionnel. • Sur n’importe quelle des plateformes suivantes: Film, Television, Short Film, Broadband, Publishing, Comics, Animation, Mobile, DVD/Blu-ray/CD-ROM, Narrative Commercial and Marketing rollouts, et autres technologies à venir. • Ces extensions narratives sont DIFFERENTES d’un matériel calibré pour correspondre à un nouveau format.
  11. 11. DEFINITION UNE FRANCHISE TRANSMEDIA REPOSE SUR: • Une histoire forte & un univers riche • La colonne vertébrale du projet repose sur un medium. • Relation honnête sur le long terme et engagement réciproque avec le public.
  12. 12. DEFINITION UNE FRANCHISE TRANSMEDIA DOIT: • Être un concept original comprenant des contenus spécifiques (linéaires ou interactifs) pour les nouveaux médias. • Être destiné à plusieurs médias, dont le cinéma et/ou la télévision et doit proposer des développements narratifs spécifiques sur chacun des supports. • Former un univers et présenter une dimension interactive et/ou participative. • Être conçu et écrit en langue française.
  13. 13. EXE MPLE!
  14. 14. The Happiness Factory
  15. 15. THE ART OF THE HEIST
  16. 16. Cartes “Joker” à découvrir Un site officiel d’Harvey Dent et un “non-officiel” Billet de 1$ menant au site whysoserious.com
  17. 17. UNE DEFINITION OUVERTE La narration transmédia est une méthode de développement d'œuvres de fiction ou documentaires et de produits de divertissement qui se caractérise par l'utilisation combinée de plusieurs médias pour développer des univers narratifs, chaque média employé développant un contenu différent. Wikipédia
  18. 18. Un univers plus Riche!
  19. 19. I. L’HISTOIRE
  20. 20. L’histoire au cœur du dispositif. PERTINENCE, EMOTION, AUTHENTICITE. L’histoire commence avec une idée, vit à travers le public et ne prends de sens que quand elle est partagée.
  21. 21. Romance, Drame, Science Fiction, Documentaire… la vie! Nos histoires se déclinent toutes de la même façon et se composent de personnages et de situations clefs que la narration transmedia peut exploiter. Pourtant TOUTES les histoires ne font pas de bons projets transmedia.
  22. 22. NARRATION TRANSMEDIA Concepts essentiels de la narration Transmedia
  23. 23. PROFONDEUR Le public peut plonger profondément dans l’histoire
  24. 24. Les éléments de l’histoire se partagent facilement
  25. 25. COHERENCE & VERSIONS en est une L’histoire colle aux canons de l’univers ou variation.
  26. 26. IMMERSION & EXTRACTION Le public entre soit dans l’univers narratif, soit il en extrait des éléments The art of immersion – Frank Rose
  27. 27. UN UNIVERS MULTI PLATEFORMES Dispersion
  28. 28. 201 1 L’année de l’UGC “USER GENERATED CONTENT”
  29. 29. II. ECRITURES LUDIQUES
  30. 30. GAMIFICATI ON Transfert de mécanismes de jeu dans d’autres domaines afin d’augmenter l’acceptabilité et l’usage de ces applications.
  31. 31. "logiciels qui combinent une intention sérieuse avec des ressorts ludiques"
  32. 32. GAME DESIGN Créer les règles qui encadrent le jeu
  33. 33. QU’EST CE QU’UN JEU? Une expérience interactive Régie par des règles Disposant d’un objectif Dont le résultat varie en fonction de l’utilisateur
  34. 34. POURQUOI FAIRE UN JEU? Transmettre l’info/l’histoire sous forme interactive. Impliquer l’utilisateur. L’encourager à explorer. Permettre la compréhension par la manipulation. BREF… générer une EXPÉRIENCE
  35. 35. UNE EXPÉRIENCE DE JEU MOTIVATION : On joue pour atteindre un but. DES CHOIX QUI ONT DU SENS: On se creuse la tête EQUILIBRE et SENS de PROGRESSION CLARTÉ: On comprends pourquoi on gagne, pourquoi on perds. ESTHÉTIQUE: C’est (aussi) une expérience sensorielle
  36. 36. LE SECRET DE LA MOTIVATION
  37. 37. IMMERSION : “Suspension of Disbelief” AUTONOMIE: La liberté entre les règles COMPÉTENCE: L’art de la rejouabilité CATHARSIS: La fin des interdits ACCOMPLISSEMENTS: D’autres vies que la mienne VIE SOCIALE: Une expérience à partager CRÉATIVITÉ: Jouer à Créer
  38. 38. À VOUS DE JOUER! Les questions à se poser: Quel est votre objectif? Qui sont les utilisateurs/joueurs Quel est le conflit? Le jeu a-t-il une fin? Le jeu est il linéaire? Peut-on jouer à plusieurs?
  39. 39. III. LES ACTEURS DU TRANSMEDIA
  40. 40. L’ENGAGEMENT  LE PUBLIC DANS LA CRÉATION
  41. 41. 5 principes autour de l’engagement par Henry Jenkin’s •LA LOGIQUE DE DIVERTISSEMENT •LA LOGIQUE DE LA CONNEXION SOCIALE •LA LOGIQUE DE L’EXPERT •LA LOGIQUE DE L’IMMERSION •LA LOGIQUE DE L’IDENTIFICATION
  42. 42. D’un point de vue juridique Le flou artistique
  43. 43. Transmédia Natif
  44. 44. LE CAS RIDDLEY SCOTT ! Quid pour l’ARG?
  45. 45. L’équipe “Transmedia”
  46. 46. C’EST QUOI UNE ÉQUIPE TRANSMÉDIA? Le CM, une part d’un tout plus grand
  47. 47. AUTEUR, CHEF D'ORCHESTRE ARCHITECTE STORY, TRANSMEDIA PRODUCER ?
  48. 48. LE WEB DESIGNER Celui qui prépare l’information afin qu’elle puisse être utilisée par tous avec efficacité
  49. 49. L’EXPERIENCE DESIGNER
  50. 50. LE PRODUCTEUR TRANSMEDIA Coordination?
  51. 51. LA COMMUNAUTÉ DE FAN
  52. 52. LES PROS EN PARLENT
  53. 53. MEDIA ENTITY avec Emilie ma co-auteure on considère qu'avec MediaEntity, on fait du transmédia "fait à la maison". Pas de financement, pas d'équipe. On fait tout tous seuls avec nos petites mains, en essayant de se former au fur et à mesure sur ce qu'on ne sait pas faire.
  54. 54. avoir un vrai réalisateur transmédia, c'est parfois plus "reposant" pour le producteur
  55. 55. Merci… Storycodeparis.org @storycode

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