A qualitative investigation that aims to conceptualise modern audience engagement in transmedia storytelling and then use this conceptualisation to analyse and understand current engagement practice. \n
The producer used to control how and when the audience would know of and experience their product. Now... the consumer is in control by vocalising their wants and desires.\n
Social media as modern method of conversing. The difference is it is not really bound by place or person and the rules are always changing.\n
If you think about it, previously it was simply a someone making a program and then presenting it to you, maybe with a little bit of advertising to tell you when and where it was on. Nowadays, we are informed by our peers and, as we can watch our programs in whatever manner we choose, we decide when, where and how we interact with someone&#x2019;s stories.\n
Transmedia storytelling is the response of my industry to these massive shifts in the landscape. \n
This is why I have turned to the advertising and marketing literature to help understand audience engagement as these fields are focussed on engaging an audience and then using that engagement to gain transactions or further involvement.\n This thesis as a way of conceptualising and synthesising current method understanding\n
why use marketing / advertising and transmedia to grab your attention they have to engage you. They have been doing 60 years of research on this, we can learn from them.\n
Only been recognised with an official credit role (2011) on the Producer&#x2019;s Guild of America&#x2019;s website\n
Audience EngagementIn Transmedia Storytelling CAMERON CLIFF DISCIPLINE: FILM AND SCREEN MEDIA SUPERVISORS: DR JON SILVER & DR SEAN MAHER FORMAT: 15,000 WORD THESIS
“How do successful transmedia producers engage with their audiences during a project”?Thesis proposal: How do producers engage people with stories that expand acrossmultiple media platforms?
Key Terms, Ideas and ContextAudience Control ShiftConvergenceTransmediaEngagement
Audience in Control http://orangemilky.blogspot.com.au/2012/05/ china-challenges-and-opportunities.html“Power is shifting from media institutions to consumer communities” (Achrol and Kotler2012 p. 43).“Today the customer is in charge and whoever is best at putting the customerin charge makes all the money” (Stephen F. Quinn, Senior Vice President for Marketing, Wal-Mart quoted in Elliott, 2006) .“Brands that formerly were tightly controlled by their managers increasingly arebeing shaped by their consumer markets” (Christodoulides, Jevons et al. 2012 p. 53)
We Don’t Yet Fully Understand Social MediaWOM, in a social-media setting, has been shown to be a highly complex system of networkedco-production of a variety of narratives that is signiﬁcantly changing our previousunderstanding of how and why WOM works (Kozinets et al., 2010).There is little doubt, however, that WOM referrals still do have strongereffects than traditional marketing (Trusov et al., 2009).
Media ConvergingA paradigm for thinking about the current moment of“media change, one which is deﬁned through the layering,diversiﬁcation, and interconnectivity of media” (Jenkins 2011).“In all of our minds these days – narratives are notconﬁned to the medium they were born in; theyare part of the larger collage that we all construct from the fragments ofeverything we watch, read, hear and surf. (Abba 2009 p. 59)” http://maher.ﬁlfre.net/writings/convergence.html
Transmedia Storytelling“The real value of TS is that the user carries the storyworldwith them from one life event to the next – chatting about TheMatrix with a friend on the phone, thinking about it in line at thegrocery store, or Googling a question about Neo that poppedup while they were driving home. Any of these thoughts maythen manifest in a user generated YouTube, a blog post or anoriginal script submitted by a fan”(Hartman 2011).
How Do We Engage Audiences?Think about the world we live in, if you, the audience can access content how,when and where you want it, how do we engage with you?“From a cognitive perspective, engagement is a positive state of mind that ischaracterized by high energy, commitment, and loyalty toward aﬁrm. From a behavioral perspective, engagement refers to actions towarda ﬁrm that go beyond transactions. Such actions are motivated by bothcognitive and emotional forces.”(Porter, Donthu et al. 2011 p. 83)
Thesis Outline Abstract Brief Overview / advert for my thesis. What am I doing?Introduction Background of transmedia / ﬁeld deﬁnition. How do we measure what makes a successful transmedia producer? Literature What does the transmedia literature say? What does the marketing / advertising literature say? (5 years of history) (60 years of history) Review Using this inter-disciplinary literature review to integrate the theories of giants in their ﬁelds and use a lens to look at what isMethodology going on. Analysing the ﬁndings to examine contemporary practice methodology. What construct can we make from the current cross-disciplinary body of knowledge that allows for analysis of engagementLens Creation methodologies? (drawing from marketing, advertising (50 years) and newly emerging transmedia and ﬁlm culture to create a lens to peer through and analyse data) Interviews Targeting two of the leading producers, time permitting four. Asking how they approach it and what works / doesn’t? Analysis How does the lens measure up against professional practice? Conclusion Findings and further questions raised by the research.
Situating My ResearchField has only existed since 2006 / 2008, 2003 (convergence)Lit Review -19 results total in EPSCO in the relevant, ﬁlm, televisionand screen media journals (40 business included)Practitioners have led the way in exploring my ﬁeld already, I work toreinforce their work (Starlight Runner, Matrix, Lost, Firelight).Leveraging current knowledge in other ﬁelds that, after completion, willhopefully yield, new knowledge.
Original Contribution to KnowledgeThere are a couple of “original” contributions to my research: 1. Synthesising applicable interdisciplinary literature that is relevant to transmedia storytelling 2. Integrating that interdisciplinary theory into a framework that explains engagement in transmedia storytelling 3. Demonstrating the application of that theoretical lens
Ethical / Copyright ConsiderationsJustiﬁable selection of inter-disciplinary materials to create an evenperspectivePractitioner interviews Commercial in conﬁdence information Treating them without bias or judgement in their practice in the way my questions are askedRemaining as objective as possible in analysis
Timeline Tasks May June July August September October Checking for updates / Checking for updates / Research Marketing Film & Marketing Synthesis new articles new articles 2nd Draft / Lit Review 1st Draft Assessment 3rd Draft Lens Creation Collate Elements Draft 1 Draft 2 Case Studies Begun Completed Sourcing Interviews Interviews Ethics Approval Interviewees Undertaken Methodology Dot points Draft 1 Draft 2 Analysis Data Analysis of Data Editing Draft 1 Draft 2 Draft 3 Finished Product
Bibliography•Abba, T. (2009). "Hybrid Stories: Examining the Future of the Transmedia Narrative." Journal of Science Fiction Film and Television 2(1): 16.•Achrol, R. S. and P. Kotler (2012). "Frontiers of the Marketing Paradigm in the Third Millennium." Journal of the Academy of Marketing Science 40: 17.•Christodoulides, G., C. Jevons, et al. (2012). "Memo to Marketers: Quantitative Evidence for Change. How User-Generated Content Really Affects Brands." Journal ofAdvertising Research 52(1): 53-64.•Gomez, J. (2012). "Jeff Gomez on Transmedia Producing." Retrieved 7 April, 2012, from http://www.producersguild.org/?page=jeff_gomez.•Hartman, J. (2011). "A Tale of Two Trends: Augmented reality and transmedia storytelling." Transmedia Producer. Retrieved 7 April, 2012, from http://www.transmediaproducer.org/archive/1/2011•Jenkins, H. (2011). Transmedia 202: Further Reﬂections. Confessions of an Aca-Fan: The ofﬁcial weblog of Henry Jenkins. 2012, http://www.henryjenkins.org/•Kozinets, R. V., K. de Valck, et al. (2010). "Networked Narratives: Understanding Word-of-Mouth Marketing in Online Communities." Journal of Marketing 74(2): 71-89.•Porter, C. E., N. Donthu, et al. (2011). "How to Foster and Sustain Engagement in Virtual Communities." California Management Review 53(4): 80-110.•Trusov, M., Bucklin, R., & Pauwels, K. (2009). Effects of word‐of‐mouth versus traditional marketing: Finding from an Internet social networking site. Journal ofMarketing, 73, 90‐102.•Zwick, D., S. K. Bonsu, et al. (2008). "Putting Consumers to Work: Co-creation’ and New Marketing Govern-Mentality." Journal of Consumer Culture 8(2): 163-196.