Henry Jenkins

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Apresentação feita no evento "O Futuro da Educação", promovido pela Affero, nos dias 16 e 17 de outubro, no Rio de Janeiro e em São Paulo.

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Henry Jenkins

  1. 1. How Content Gains Meaning and Value in the Era of Spreadable Media Henry Jenkins, USC
  2. 2. Content is Transmedia
  3. 3. Transmedia storytellingrepresents a process whereintegral elements of a fiction getdispersed systematically acrossmultiple delivery channels forthe purpose of creating a unifiedand coordinated entertainmentexperience. Ideally, each mediummakes it own uniquecontribution to the unfolding ofthe story.
  4. 4. ADAPTATION EXTENSION
  5. 5. STORY
  6. 6. WORLD
  7. 7. CHARACTER
  8. 8. Four Primary Functions of Transmedia:1. Explore the world
  9. 9. 3. Flesh Out Secondary Characters
  10. 10. 2. Extend the Timeline
  11. 11. 4. Extend opportunities for audience engagement
  12. 12. The Problem of Engagement
  13. 13. State of Rio Funding:• “audiovisual projects in which content is developed, complementary, in multiple media, in order to explore and maximize the potential and characteristics of each one of them”• “spreading, stimulate and strengthen the culture of our state.”
  14. 14. • For the past five years, Brazil has been among the top five countries of the world, often ranking ahead of the United States, Japan, and other extremely developed countries, in terms of the amount of time the average user spends online.• Brazil and India have been neck and neck in terms of social media usage, first on Orkut and now also on Facebook.• Over the past few years, Brazil has shown the greatest growth among the world’s leading economies in terms of its consumption of media and entertainment products.• The Brazilian market for computer and mobile games is expected to grow at a rate of 7.7 percent per year through 2015.• Online video consumption in Brazil underwent an amazing increase of 74% between December 2010 and December 2011.
  15. 15. Brazil – Hybrid Model• Mixed Media, Music, Telenovela• Documentary, Advertising• Logic of Entertainment Education• Focus on Cross-Cultural Understanding• Rio Content Market Competition• The Alchemists• Public-Private Funding
  16. 16. Content is Participatory
  17. 17. Web 2.0 critique
  18. 18. *Special thanks to Raquel Recuero .
  19. 19. Content is Remixable
  20. 20. Content is Spreadable
  21. 21. "We are all susceptible to the pull of viralideas. Like mass hysteria. Or a tune thatgets into your head that you keep onhumming all day until you spread it tosomeone else. Jokes. Urban legends.Crackpot religions. Marxism. No matter howsmart we get, there is always this deepirrational part that makes us potential hostsfor self-replicating information." Neal Stephenson
  22. 22. Circulation vs.Distribution
  23. 23. Content is Global
  24. 24. performance play networking collective intelligencemultitasking distributed cognition appropriation negotiation judgment simulation transmedia navigation
  25. 25. 4Cs
  26. 26. Fandom and Informal Learning
  27. 27. “Education either functions as an instrument which is used tofacilitate integration of the younger generation into the logic of the present system and bring about conformity or it becomes thepractice of freedom, the means by which men and women dealcritically and creatively with reality and discover how to participate in the transformation of their world.” ― Paulo Freire, Pedagogy of the Oppressed
  28. 28. “Play is the work of childhood” -- Jean Piaget
  29. 29. Key Features•A network of networks –context matters•Transparency while stillrespecting privacy•Mentoring Matters --Assessment ofparticipation as well asexpertise both as anetwork and an individual•Co-Learning …everyonecan share theirknowledge and buildupon each other --REMIX•Collections of challengesby themes or a multi-linear paths. Discove Learn. Teach.

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