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Narrativas transmidiáticas / Hipertelevisão

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Narrativas transmidiáticas / Hipertelevisão
Mundos de ficção e simulação intermidiática
na nova ecologia da mídia
(PPT en castellano)

Published in: Education
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Narrativas transmidiáticas / Hipertelevisão

  1. 1. <ul><li>Narrativas transmidiáticas / Hipertelevisão </li></ul><ul><li>Mundos de ficç ã o e simulaç ã o intermidiática </li></ul><ul><li>na nova ecologia da mídia </li></ul>Carlos A. Scolari - Universitat Pompeu Fabra [email_address] www.digitalismo.com - www.hipermediaciones.com
  2. 2. Preguntas/Index ¿Qué puede/debe decir/hacer la semiótica al respecto? ¿Qué está pasando con las narrativas y los medios? ¿Qué está pasando con la narrativa televisiva?
  3. 3. ¿Qué puede/debe decir/hacer la semiótica al respecto? ¿Qué está pasando con las narrativas y los medios? ¿Qué está pasando con la narrativa televisiva?
  4. 4. Evoluciones Fuente: Scolari, C. (2008) Hipermediaciones. Elementos para una Teoría de la Comunicación Digital Interactiva,Barcelona: Gedisa 1950-1980 1980 - 2000?
  5. 5. ¿Post-televisión? ¿Meta-televisión? <ul><li>Superación del paleo/neo. </li></ul><ul><li>¿Por qué no hablar de post-televisión como Piscitelli, Ramonet, etc.? </li></ul><ul><li>- Desgaste del prefijo “post”. </li></ul><ul><li>- ¿Estamos “más allá de la TV”? ¿Ha muerto la TV (Verón dixit)? </li></ul><ul><li>¿Por qué no hablar de la meta-televisión como Carlón, Olson, etc.? </li></ul><ul><li>- Porque la meta-televisión es sólo una característica de la nueva TV. </li></ul><ul><li>Hablemos de hipertelevisión y veamos algunas de sus características... </li></ul>
  6. 6. Hipertelevisión Multiplicación de programas narrativos
  7. 7. Hipertelevisión Multiplicación de programas narrativos
  8. 8. Hipertelevisión Multiplicación de programas narrativos
  9. 9. Hipertelevisión Fragmentación de la pantalla Suspense (1913, L. Weber & P. Smalley)
  10. 10. Hipertelevisión Ritmo acelerado
  11. 11. Hipertelevisión Intertextualidad / metatelevisión
  12. 12. Hipertelevisión Complejidad narrativa Fuente: Johnson, S. (2005) Everything bad is good for you , Londres: Riverhead Books Penguin Books
  13. 13. Hipertelevisión <ul><li>Las experiencias hipertextuales/interactivas están generando otras competencias en las nuevas generaciones: la hipertelevisión les habla a ellos . </li></ul><ul><li>La hipertelevisión construye un espectador modelo formado no tanto en la cultura del zapping (que caracterizaba a la neoTV) sino en los videojuegos y la experiencia hipertextual (navegación en la web, redes sociales, etc.). </li></ul><ul><li>La neo y la paleotelevisión no desaparecen: pasan a segundo plano . </li></ul><ul><li>Al igual que paleo o neoTV el concepto de /hipertelevisión/ desborda la reflexión semiótica. </li></ul><ul><li>La hipertelevisión no es “TV interactiva”: es TV simulando la interacción. </li></ul>
  14. 14. ¿Qué puede/debe decir/hacer la semiótica al respecto? ¿Qué está pasando con las narrativas y los medios? ¿Qué está pasando con la narrativa televisiva?
  15. 15. Convergencias <ul><li>Hay muchas convergencias : empresarial, tecnológica, profesional, semiótica, etc. </li></ul><ul><li>Según Jesús Martín Barbero “la convergencia más importante es la narrativa, la expansión de los relatos” por múltiples medios, lenguajes y plataformas. </li></ul>
  16. 16. 2000 2003 H. Jenkins introduce el concepto de NT 2006 H. Jenkins Convergence Culture 2008 Jenkins - Deuze Número monográfico de Convergence <ul><li>Primeras definiciones: Las NT son ‘historias contadas a través de múltiples medios. Actualmente, las historias más significativas tienden a desplegarse a través de múltiples plataformas’ (Jenkins et al., 2006). </li></ul><ul><li>H. Jenkins: Aca/Fan ---> Fan cultures/UGC </li></ul><ul><li>Galaxia semántica: </li></ul><ul><ul><li>multiple platforms (Jeffery-Poulter, 2003) </li></ul></ul><ul><ul><li>cross media (Bechmann Petersen, 2006) </li></ul></ul><ul><ul><li>hybrid media (Boumans, 2004) </li></ul></ul><ul><ul><li>intertextual commodity (Marshall, 2004) </li></ul></ul><ul><ul><li>transmedial worlds (Klastrup & Tosca, 2004) </li></ul></ul><ul><ul><li>transmedial interactions (Bardzell et al., 2007) </li></ul></ul><ul><ul><li>multimodality (Kress & van Leeuwen, 2001) </li></ul></ul><ul><ul><li>intermedia (Higgins, 1966) </li></ul></ul>2010 Transmedia storytelling 2009 Harrigan, P. & Wardrip-Fruin, N. Third Person. Authoring and Exploring Vast Narratives , MIT Press
  17. 18. TV / DVD Videogame Book UGC Mobisodes Comic ARG Action figures TV Download / TV Streaming Soundtrack
  18. 19. Mobisodes <ul><li>Mobisodes “Missing Pieces”: contenidos intersticiales --> esquirlas de mundos </li></ul><ul><li>narrativos </li></ul><ul><li>Cultura snack : boom de formatos breves ideales para una economía de la atención fragmentada --> videoclips, trailers, SMS, Twitter, etc. </li></ul>Lost “Missing Pieces” n. 11 - Duración 2:15 Wired 15.03 (2007) Snack Attack!
  19. 20. Cómic <ul><li>“ Pardillos ”: nace como UGC pero se convierte en producto comercial. </li></ul><ul><li>Los límites entre UGC y la industria cultural no son claros . </li></ul>“ Pardillos” Libro I (Temporada I)
  20. 21. Alternate Reality Game (ARG) <ul><li>“ The Lost Experience ”: experiencia narrativa 2.0 vinculada a las estrategias de marketing de la serie (similar a una búsqueda del tesoro cross-media y global ). </li></ul>
  21. 22. Contenidos generados por usuarios <ul><li>Atraviesan todos los medios, lenguajes, formatos y estilos… </li></ul>
  22. 23. Contenidos generados por usuarios <ul><li>Atraviesan todos los medios, lenguajes, formatos y estilos… Es post-producción en estado puro (Borriaud). </li></ul>Parodia Recap Sincro + mashup Mashup Parodia
  23. 24. ¿Qué puede/debe decir/hacer la semiótica al respecto? ¿Qué está pasando con las narrativas y los medios? ¿Qué está pasando con la narrativa televisiva?
  24. 27. Agenda semiótica (I) <ul><li>Definir --> Diccionario </li></ul><ul><li>Definir con mayor precisión a las narrativas transmediáticas : </li></ul><ul><ul><li>¿Incluyen a las traducciones intertextuales o no? </li></ul></ul><ul><ul><li>¿Son siempre expansivas ? ¿Y los recaps y sincros ? </li></ul></ul><ul><ul><li>¿Existe una especificidad semiótica en los UGC ? ¿O simplemente forman parte del continuun narrativo ? </li></ul></ul><ul><li>Clasificar -- > Taxonomía </li></ul><ul><li>Lost es un producto multigenérico nacido como consecuencia de </li></ul><ul><li>la crisis de los géneros (Tous) </li></ul><ul><li>Elaborar taxonomías de NT / UGC / Estrategias de expansión </li></ul><ul><li>Serie + serial = serialización (formato híbrido / multiplicación plots) </li></ul><ul><li>Clasificar / analizar nuevos formatos e hibridaciones : sincros, recaps, mobisodes, formatos breves, contenidos intersticiales, etc. </li></ul>
  25. 28. Agenda semiótica (II) <ul><li>Analizar y teorizar --> Modelos explicativos </li></ul><ul><li>Surgimiento y convergencia de nuevas textualidades, formatos y géneros </li></ul><ul><li>Construcción colectiva (Lévy) de mundos posibles (Eco). </li></ul><ul><li>Repensar la relación entre ficción/narrativa y realidad --> ARG </li></ul><ul><li>Repensar la semiótica del branding (del product placement a la marca-ficción ) </li></ul><ul><li>Límites de las teorías clásicas : </li></ul><ul><ul><li>¿Son aplicables los modelos clásicos (narratológicos,textuales, interpretativos)? </li></ul></ul><ul><ul><li>¿Deben ser actualizados? </li></ul></ul><ul><ul><li>¿Hay salvación fuera del texto? </li></ul></ul><ul><li>La semiótica crece cuando se confronta con nuevos objetos de estudio y dialoga con otros ámbitos del conocimiento. </li></ul><ul><li>Más que una “semiótica de los new media” necesitamos una semiótica integrada de los medios (no podemos entender Lost si ignoramos Myst ) </li></ul>
  26. 29. Biblio (I) SCOLARI, C. (2008) Hipermediaciones. Elementos para una teoría de la comunicación digital interactiva . Barcelona: Gedisa. SCOLARI, C. (2009) “Ecología de la hipertelevisión. Complejidad narrativa, simulación y transmedialidad en la televisión contemporánea”. En S. Squirra e Y. Fechine (eds.) Televisão Digital: desafios para a comunicação . Porto Alegre (Brasil): Sulina / COMPOS. SCOLARI, C. (2009) “ The Grammar of Hypertelevision. An identikit of the convergence age television (Or how television is simulating new interactive media)”, Journal of Visual Literacy , Vol 28:1. CARLON, M. - SCOLARI, C. (2009) El Fin de los Medios Masivos. El comienzo de un debate . Buenos Aires: La Crujía. SCOLARI, C. (2009) “Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Production”, International Journal of Communication , Vol 3.
  27. 30. Biblio (II) TOUS, A. (2010) La era del drama en televisión Perdidos, CSI, El ala Oeste de la Casa Blanca, Mujeres desesperadas y House , Barcelona: UOC Press PEARSON, R. (2009) Reading Lost. Perspectives on a Hit Television Show Reading Contemporary Television , NYC: I.B. Tauris INNOCENTI, V - PESCATORE, G. (2008) Le nuove forme della serialità televisiva. Storia, linguaggio e temi , Bologna: Archetipolibri POZZATO, M.P. - GRIGNAFFINI, G. (2008) Mondi Seriali. Percorsi semiotici nella fiction , Milán: RTI PEZZINI, I. (2006) Trailer, spot, clip, siti, banner. Le forme brevi della comunicazione audiovisiva , Roma: Meltemi CARLON, M. (2006) De lo cinematográfico a lo televisivo. Metatelevisión lenguaje y temporalidad , Buenos Aires: La Crujía
  28. 31. <ul><li>Email: [email_address] </li></ul><ul><li>Facebook: carlos.scolari </li></ul><ul><li>Twitter: cscolari </li></ul><ul><li>Blog I: www.digitalismo.com </li></ul><ul><li>Blog II: www.hipermediaciones.com </li></ul>Obrigado! Mis coordenadas

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