Transmedia 101 - Adam Wexler


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A brief Introduction to the concept of Transmedia for Rob Kozinets' MBA class Social Media Marketing and Management

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  • President and CEO of Starlight Runner Entertainment, a company that has been developing cross- and transmedia strategies for big Hollywood companies including Disney and 20th Century Fox along with other major brands such as Coca Cola, Hasbro, and Mattel
  • Conducted primary researchNot may people seem to grasp the meaning of the term.I will try and shed some light
  • Prospects need to hear your message (virtually the same message) 7 times in order to take actionNot just about moving brands to a new media spacemajor movie studios, television networks and gaming studios are all embracing the notion of transmedia storytelling
  • – the source or inspiration of content, owners of the movies, games etc... Often ‘conglomerates’pitching the content somewhat differently in the different media.” (Jenkins, 2008) – let mediums do what they do bestconveying messages, themes or storylines to a mass audience through the artful and well-planned use of multiple-media platforms (Gomez)Going deep an option, not the only way! (pleasure not deprived if not)Younger consumers have become information hunters and gatherers, taking pleasure in tracking down character backgrounds and plot points and makingconnections between different texts within the same franchise. And in addition, all evidence suggests that computers are enhacing consumption of other media, not cancelling it out
  • Pure athlete ethos – Holt – team player, overachiever, loyal, loves the gameSportscenter first aired on TV, it “exploited the medium’s potential for extended storytelling and character development” – this is the hubYou have you heroes, villains, supporting casts – typical elements of a good storyTalkk shows (PTI, Around the Horn etc)... Build on the actual game, but aren’t necessary to enjoy itEndless pipelline of stories and different possibilities for experiences in the sports world**long term engagement fosters the consumer’s desire to share the experience, encouraging the extension of a property’s lifespan beyond normal retail windows, leading to substantially increased revenue (Gomez)
  • INTRO – as ESPN demonstrated, transmedia is really creating a significant culture.......each in a different way. Some to the fashion/clothing, some to the music, , the spiritual elemement people unite in subgroups as well as part of the larger group
  • Brand communities – more about promotion and commercialization
  • Transmedia 101 - Adam Wexler

    1. 1. Transmedia 101“A philosophy of communication and brand extension that broadens the life-cycle of creative content” – Jeff Gomez, 2010<br />Adam Wexler 2011<br />
    2. 2. Today’s Professor<br />2<br /><br />Adam Wexler 2011<br />
    3. 3. 7 Time Model<br />3<br />Transmedia is not about providing more of the same<br />Adam Wexler 2011<br />
    4. 4. Transmedia Model<br />Media franchises <br />“Story unfolds across multiple media platforms, with each new text making a distinctive and valuable contribution to the whole”<br />“Offering new levels of insight and experience...” (Jenkins, 2008)<br />Experiencing a transmedia franchise requires, as Jenkins suggests, a ‘hunter-gatherer’ mindset<br />4<br />Adam Wexler 2011<br />
    5. 5. 5<br />The End of One Story is the Beginning or Extension of Another<br />Sports Bar<br />Playing Cards<br />Sports-Center<br />Radio<br />News<br />“Pure Athlete”<br />Website<br />In Game<br />TV<br />Editorials<br />Social Media<br />Print<br />Talk Shows<br />Apps<br />Fantasy<br />Video Games<br />Twitter<br />Podcast<br />Adam Wexler 2011<br />
    6. 6. Culture<br />“Complex interconnections of various sets of meanings, practices, and identities...”<br />“Fan cultures link to interconnected systems of commercially-produced images, texts and objects” (Kozinets, 2010)<br />6<br />Adam Wexler 2011<br />
    7. 7. What Has Changed?<br />Media and <br />Consumer <br />Culture<br />Traditional Community<br />relative<br />cultural<br />influence<br />Education<br />forties fifties sixties seventies eighties nineties oh-siesteens (Kozinets)<br />Adam Wexler 2011<br />
    8. 8. “Whether a franchise is developed as a multibillion-dollar campaign or as an independent project by a single auteur, we are presented with an exciting opportunity to utilize literary theory to shape a new literature for the twenty-first century...” <br />– Geoffrey Long, 2007<br />8<br />Adam Wexler 2011<br />
    9. 9. Appendix 1: Key Issues<br />Uneasy feeling that companies are taking advantage of cult followings (Jenkins)<br />Criteria for evaluating works that play themselves out across multiple mediums<br />Requires mediums to collaborate, rather than compete (ex. EA was on site while the Lord of the Rings filmed in New Zealand to import all ‘assets’)<br />Also requires a knowledge of and appreciation for many mediums (personal engagement)<br />Gomez warns to be careful with market segmentations, because doing so risks alienating a story’s core audience.<br />9<br />Adam Wexler 2011<br />