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Should We? Could We? Would We? Films in the Age of Cross-Media Production



Keynote presentation at Power to the Pixel, London Film Festival, October 2008. This presentation won't make much sense without the accompanying video, which is now at here: NTB have also put up audio files of all the talks:

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Should We? Could We? Would We? Films in the Age of Cross-Media Production

  1. 1. Should We? Could We? Would We?: Films in the Age of Cross-Media Production Christy Dena Power to the Pixel 22 nd October 2008
  2. 2.
  3. 6. Four eyed monsters Blair Witch Project Replicate Transform Expand
  4. 7. <ul><li>Should We? </li></ul>
  5. 8. <ul><li>Should we distribute across multiple media platforms? </li></ul><ul><li>Should we promote across multiple media platforms? </li></ul><ul><li>Should we expand the film experience across media platforms? </li></ul>
  6. 9. <ul><li>Should we distribute across multiple media platforms? </li></ul>
  7. 10. DeMassification! – Toffler (Fragmented Audiences)
  8. 13. “ In a nearby future we can assume that media will move freely across different technological platforms, across different media formats and across different networks. Media will in this sense appear more as a liquid than solids.” Mikael Wiberg, 2007, 63 “ Fluids travel easily. They ‘flow’, ‘spill’, ‘run out’, ‘splash’, ‘pour over’, ‘leak’, ‘flood’, ‘spray’, ‘drip’, ‘seep’, ‘ooze’; unlike solids they are not easily stopped—they pass around some obstacles, dissolve some others and bore or soak their ways through others still.” Zygmunt Bauman, 2000, 1-2
  9. 14. Ruddy Morgan’s Flatland
  10. 16. <ul><li>‘ Billion Dollar Research Lab: Cross-Media Insights from the Largest Single Media Event Ever’ </li></ul>“ We thought that customers would be appreciative of the fact that we had so much across different platforms,” he said. “But nope. They were like ‘obviously!’ They just expected it.” Alan Wurtzel, NBC Universal’s President of Research
  11. 17. <ul><li>Should we promote across multiple media platforms? </li></ul>
  12. 18. DeMassification! (Fragmented Audiences)
  13. 19. Timothy deWaal Malefyt, Vice President/Director of Cultural Discoveries, BBDO Advertising Worldwide “ Reason is Out, Emotion is In”
  14. 21. Tulse Luper Suitcases <ul><li>“ webler: Website constructed entirely from a film’s visual and aural elements that can be navigated and interacted with by a general audience. A webler should offer both an experience of the actual film as with a film trailer and an alternative expression to that experience.” </li></ul>
  15. 22. <ul><li>Head Trauma </li></ul><ul><li>Freefall </li></ul>
  16. 23. Reality is the new play space
  17. 24. <ul><li> </li></ul>
  18. 25.
  19. 26.
  20. 27. Marketing Art ? X
  21. 28. <ul><li>Should we expand the film experience across media platforms? </li></ul>
  22. 29. <ul><li>“ If the cinema intends to survive, I believe, it has to make a pact and a relationship with concepts of interactivity, and it has to see itself as only part of a multimedia cultural adventure.” </li></ul><ul><li>‘ Toward a re-invention of cinema’ </li></ul><ul><li>Cinema Militans Lecture Peter Greenaway, 28 th Sept, 2003 </li></ul>
  23. 30. Ruddy Morgan’s Flatland
  24. 32. Audiences want to converse with your world in their native tongue/ media
  25. 33. <ul><li>SIMM = </li></ul><ul><li>“ individual consumers being exposed to more than one media system or approach at a single point in time. In short, it describes the increasingly prevalent consumer activity of multitasking, eg being online and watching television at the same time, reading the newspaper while listening to the radio, or reading the mail while talking on the telephone.” </li></ul><ul><li>(Pilotta, Schultz, 2004) </li></ul>
  26. 34. <ul><li>Could We? </li></ul>
  27. 35. <ul><li>Could We Do It? </li></ul><ul><li>How Could We Do It? </li></ul><ul><li>What Could We Do? </li></ul>
  28. 36. <ul><li>Could We Do It? </li></ul>
  29. 37. Four Approaches to Cross-Media Creation Version 1, Christy Dena, 2008 <ul><li>All mediums are equal, all art is one </li></ul>* Film is King, other mediums are Queen <ul><li>Film is King, other mediums can be Knights </li></ul><ul><li>Film is King, all other mediums are Pawns </li></ul>Medium Status * Have to experience more than one * Experience more than one * Experience one or the other * Experience one on top of the other, no relation Audiences <ul><li>Writer-Producer-Director </li></ul><ul><li>Self & like-minded teams </li></ul><ul><li>Writer-Producer-Director </li></ul><ul><li>Creatively controlled practitioners with some integration knowledge </li></ul><ul><li>Creatively controlled practitioners </li></ul><ul><li>Outsiders, no creative control </li></ul>Execution <ul><li>Combined platform/artform skills </li></ul><ul><li>Multi platform/artform skills </li></ul><ul><li>Single platform/artform skills </li></ul><ul><li>Single platform/artform skills </li></ul>Skills Artistic Economic & Artistic Economic (& Artistic) Economic Motivation Strategies & Techniques <ul><li>Cross-media interaction design </li></ul><ul><li>Experience Design </li></ul><ul><li>Simultaneous media usage </li></ul><ul><li>Designed from beginning </li></ul><ul><li>Parallel production </li></ul><ul><li>Asset Sharing </li></ul><ul><li>After initial content </li></ul><ul><li>Central Management (‘Transmedia Tzar’) </li></ul><ul><li>Coherence Management (‘World Bible’) </li></ul><ul><li>Asset Sharing </li></ul><ul><li>Leverage existing IP for marketing & franchise exploitation </li></ul><ul><li>No role in the meaning-making process </li></ul>Native Integrated Complimentary Isolated
  30. 38. <ul><li> The “fly in the ointment” of ‘transmedia storytelling’? </li></ul><ul><li>‘ pragmatic conflicts between film production and videogame development practices’ </li></ul><ul><li>Trevor Elkington </li></ul><ul><li>Senior Associate Producer, Surreal Software </li></ul>
  31. 39. Cross-Media Production Process Comparison Source: Conceived by Crossover Nordic team, chart created by Daniel
  32. 40. <ul><li>How Could We Do It? </li></ul>
  33. 41. Replicate
  34. 42. Brooke Burgess, Ian Kirby, and Andrew West’s Broken Saints
  35. 43. Transform
  36. 45.
  37. 46. … and Peter Greenaway VJing his ‘Tulse Luper Project’…
  38. 47. Richard James Allen’s Thursday’s Fictions “ When you read a book, you imagine the world.  When you watch a film, you see and hear the world.  When you visit an online 3D immersive environment, you enter the world.  You feel what it’s like to be one of the characters, to be inside the story. And you can share that experience with your friends.”
  39. 48. Expand
  40. 49. Joss Whedon’s Firefly/Serenity
  41. 50. Richard Kelly’s Southland Tales
  42. 51. 10 Canoes / feature film “ Many, many canoes”: 11 Canoes / Mini-Documentaries Training 12 Canoes / Broadband Website 13 Canoes / Gallery Exhibition 14 Canoes / Photo Publishing Project 15 Canoes / Music Preservation Project 16 Canoes / Closed-Circuit Television Station 17 Canoes / Cultural Exchange Program 18 Canoes / Making Of Documentary Rolf De Heer: Movie:
  43. 52. <ul><li>What Could We Do? </li></ul>
  44. 54. Lance Weiler’s Head Trauma
  45. 55. Gorillaz’s Dirty Harry
  46. 56. John August’s The Nines
  47. 58. <ul><li>Fictional newspapers </li></ul>Jason Grote’s   1001
  48. 59. Michel Gondry’s Sunshine on a Spotless Mind
  49. 60. Six to Start
  50. 61. Pet Shop Boys’ Integral
  51. 62. Blast Theory’s ‘Can You See Me Now?’
  52. 63. 42 Entertainment’s I Love Bees
  53. 64. 42 Entertainment’s I Love Bees
  54. 65. 42 Entertainment’s ‘Last Call Poker’ for Activision’s GUN Image from Jane McGonigal’s NEXT presentation
  55. 66. 42 Entertainment’s The Dark Knight campaign
  56. 67. … and the phones buried inside the cakes for The Dark Knight… 42 Entertainment’s The Dark Knight campaign
  57. 68. Nine Inch Nails’ Year Zero
  58. 69. Nine Inch Nails’ Year Zero
  59. 70. Singapore’s Postal Service ‘Yours Always’
  60. 71. Lance Weiler’s Head Trauma
  61. 72. Hoodlum’s Find 815 for ABC’s Lost
  62. 73. ‘ She Loves the Moon’ by the Strangers…
  63. 74. Nick Montfort and Scott Rettberg’s ‘Implementation’
  64. 75.
  65. 76.
  66. 77. <ul><li>Sharks </li></ul>area/code’s SharkRunners
  67. 78. Mind Candy’s ‘Perplex City’
  68. 79. <ul><li>Would We? </li></ul>
  69. 82. <ul><li>Should We? </li></ul><ul><li>Could We? </li></ul><ul><li>Would You? </li></ul>
  70. 84. <ul><li> </li></ul><ul><li> </li></ul>
  71. 85. References <ul><li>Bauman, Z. (2000). Liquid Modernity . Polity Press, USA. </li></ul><ul><li>deWaal Malefyt, T. (2006). &quot;The Privatisation of Consumption: Marketing Media Through Sensory Modalities.&quot; Advertising and the Media themed issue of Media International Australia (119): 85-98. </li></ul><ul><li>Elkington, T. G. (2005). How a Salad Bowl Can Improve Transmedia Storytelling: Integration and Convergence in Film and Game Development. Futureplay 2005 . East Lansing, MI. </li></ul><ul><li>Greenaway, P. (2003, 28 Sept). &quot;Cinema Militans Lecture: Toward a re-invention of cinema.&quot; Retrieved 17 March, 2006, from </li></ul><ul><li>Pilotta, J. J., Schultz, D.E. et al. Simultaneous Media Usage: A Critical Consumer Orientation to Media Planning, Journal of Consumer Behaviour (2004), John Wiley & Sons, Ltd., 3(3), 285-292. </li></ul><ul><li>Toffler, A. (1980). De-Massifying the Media. The Third Wave . New York, Morrow : 155-167. </li></ul><ul><li>Wiberg, M. (2007). Midgets: Exploring the Design Space for Truly Liquid Media . 1st International Conference on Crossmedia Interaction Design, Hemavan, Sweden. </li></ul>