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Evolving Cinematic Storytelling toSpan Multiple ScreensJason BrushPossible Worldwide / UCLA Film, TV & Digital Media / Art...
ere is precious little invention in the cinema world,because traditional cut-and-paste, narrative,illusionistic cinema has...
900   1910   1920   1930      1940        1950        1960        1970        1980   1990   2000   2010                   ...
Film language is invented1910            1920          1  Gri th         Eisenstein
Consolidation1940             1950 Welles         Fellini
Revision1960                1970Godard      Cassavetes
Post-revisionist Pastiche  1980             1990Scott      Stone       Tarantino
Transmedia?                                                                                                            DIY...
Transmedia?                                                                                                            DIY...
If the cinema intends to survive, I believe, it has tomake a pact and a relationship with concepts ofinteractivity, and it...
Transmedia storytelling represents a process whereintegral elements of a ction get dispersedsystematically across multiple...
Traditional Media Franchise     Transmedia Franchise                                         Diagram: Susan Marx          ...
Transmedia franchises have often blurredboundaries between marketing and content...
Tulse Luper Suitcases   Pandemic                   My Beautiful Darkby Peter Greenaway      by Lance Weiler            Twi...
Tulse Luper Suitcases   Pandemic                   My Beautiful Darkby Peter Greenaway      by Lance Weiler            Twi...
Tulse Luper Suitcases   Pandemic                   My Beautiful Darkby Peter Greenaway      by Lance Weiler            Twi...
Tulse Luper Suitcases                     Pandemic                   My Beautiful Dark by Peter Greenaway  by Lance Weiler...
Even when part of a complex, coordinated transmediae ort, the audience’s expectations of what a “movie” isremains the same.
In addition to being smaller,personal screens are:- connected- controllable- often portable- used in multiple contexts
e multi-screen experience is an inescapable reality oftoday’s distribution landscape, yet lm language itselfhasn’t evolved...
Ive never watched “Avatar” on a laptop. I guess itprobably works, but I dont recommend it...What Irecommend is getting the...
It is easier for me to see a minor painting by Caravaggioin a small Umbrian town than it is for me to seeKubricks “2001” i...
e innate pleasures of the cinema as we’ve known it                          vs        e reality that today’s lm distributi...
Merchandise         Games                                             Installation Websites                               ...
How should lmmakers respond to this technological change?Coordinated transmedia storytelling one compelling way, but perha...
mrp     diameter
⅓33          12”          LP 22-26 minutes per side
45            7”           Single     3 minutes per side
!""#$%&#(#)*+),+,#*-#.+#"(*+)+,#*-#%(#%#/0-"+1#2*#(#.3-4+)#56#)*-#),7,5%"#*3%84(#-)"&#9-3#+%(+3#)%7:%*-)1
!""#$%&#(#)*+),+,#*-#.+#"(*+)+,#*-#%(#%#/0-"+1#2*#(#.3-4+)#56#)*-#),7,5%"#*3%84(#-)"&#9-3#+%(+3#)%7:%*-)1
timechannels           8:30   9:00   9:30   10:00   10:30
timechannels                         sitcom           8:30   9:00            9:30   10:00   10:30
timechannels                         drama           8:30   9:00    9:30   10:00   10:30
Part of the problem is that cross-platformtransformation of media has always been seen as acompromise — we’ve been trained...
Now if your playing the movie on a telephoneor on your computer, you will never in atrillion years experience the lm. youl...
But what if a lm was able to scale to the di erentpresentation environments?
Feature FilmTV Series 1Feature Film 2TV Series 2Feature Film 3
... we want to do part of it big screen, and then a lot of thecharacter stu — because Stephen King’s stu is so interesting...
By telling this story across media platforms and over multiplehours—and with a view to telling it completely—we have ourbe...
To get [the shorter theatrical version of Carlos] right,we had to reshape the lm. Even stu that looks thesame is not the s...
I know the general audiences would prefer a shortercut. e thing is that a ve-and-a-half hour lm islocated within a very sp...
“Elastic Cinema”
e Dark Tower
Carlos
“Toward a re-invention of cinema”, 2003
Character                   TV      Feature                            Gaming       FilmsNarrative                      Wo...
Character                   TV      Feature                            Gaming       FilmsNarrative                      Wo...
Character                   TV      Feature                            Gaming       FilmsNarrative                      Wo...
What does Elastic Cinema get us?  e creation of lmic content which can blend easily withother media within transmedia syst...
Where we need to evolve our approach:WritingAnticipating scale & shifting narrative structure.Directing the CameraProvidin...
Transmedia = Diverse, coordinated media that eachcontribute to an overall entertainment experience inindividual and separa...
anks.http://www.possibleworldwide.com
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens
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Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens

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(Watch video of the presentation here: http://vimeo.com/21091334)

From the SXSW 2011 Film Festival:

Marshall McLuhan’s famous adage, “the medium is the message,” is as true as ever, with evolving technologies — Web video, DSLR cameras, smart phones, smart TVs, and tablets — affecting the way in which filmed media is created and distributed. However, filmmakers are more often than not still bound by old paradigms — the feature film, the hour-long TV drama, the short — which struggle to fit into (and be sustainable within) a rapidly evolving media ecosystem. We will explore the creative opportunities for filmmakers to expand the language of their filmmaking beyond the comfortable and familiar boundaries of old formats, and investigate how a filmmaker’s vision can scale to create experiences beyond the theater and beyond the television. This talk asks the question, is it possible to create holistic cinematic experiences that span the many screens in our lives? What new messages will be enabled by today's new mediums?

Published in: Entertainment & Humor
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Elastic Cinema: Evolving Cinematic Storytelling to Span Multiple Screens

  1. Evolving Cinematic Storytelling toSpan Multiple ScreensJason BrushPossible Worldwide / UCLA Film, TV & Digital Media / Art Center College of Design
  2. ere is precious little invention in the cinema world,because traditional cut-and-paste, narrative,illusionistic cinema has had its day. We must move on.We must re-invent cinema. Peter Greenaway, “Toward a Re-invention of Cinema”
  3. 900 1910 1920 1930 1940 1950 1960 1970 1980 1990 2000 2010 History of the evolution of lm language, per Peter Greenaway
  4. Film language is invented1910 1920 1 Gri th Eisenstein
  5. Consolidation1940 1950 Welles Fellini
  6. Revision1960 1970Godard Cassavetes
  7. Post-revisionist Pastiche 1980 1990Scott Stone Tarantino
  8. Transmedia? DIY? Invention of lm language Consolidation Revisionists Post-revisionist pastiche 3D?1910 1920 1930 1940 1950 1960 1970 1980 1990 2000 2010 Gri th Welles Godard Scott Stone Tarantino Eisenstein Fellini Cassavetes History of the evolution of lm language, per Peter Greenaway
  9. Transmedia? DIY? Invention of lm language Consolidation Revisionists Post-revisionist pastiche 3D?1910 1920 1930 1940 1950 1960 1970 1980 1990 2000 2010 Gri th Welles Godard Scott Stone Tarantino Eisenstein Fellini Cassavetes History of the evolution of lm language, per Peter Greenaway
  10. If the cinema intends to survive, I believe, it has tomake a pact and a relationship with concepts ofinteractivity, and it has to see itself as only part of amultimedia cultural adventure. Peter Greenaway
  11. Transmedia storytelling represents a process whereintegral elements of a ction get dispersedsystematically across multiple delivery channels forthe purpose of creating a uni ed and coordinatedentertainment experience. Henry Jenkins
  12. Traditional Media Franchise Transmedia Franchise Diagram: Susan Marx Diagram concept: Robert Pratten of Zen Films
  13. Transmedia franchises have often blurredboundaries between marketing and content...
  14. Tulse Luper Suitcases Pandemic My Beautiful Darkby Peter Greenaway by Lance Weiler Twisted Fantasy3 feature lms 1 short lm By Kanye Westa TV series 1 magazine Album92 DVDs 1 koala Short FilmCD-ROMs 5 secret locations Music Videosbooks 10 scares Twitter 12 totems 60 story artifacts 50 mobile phones 5,000 bottles of water 40,000 people 50,000 photos 3.2 million points of data
  15. Tulse Luper Suitcases Pandemic My Beautiful Darkby Peter Greenaway by Lance Weiler Twisted Fantasy3 feature lms 1 short lm By Kanye Westa TV series 1 magazine Album92 DVDs 1 koala Short FilmCD-ROMs 5 secret locations Music Videosbooks 10 scares Twitter 12 totems 60 story artifacts 50 mobile phones 5,000 bottles of water 40,000 people 50,000 photos 3.2 million points of data
  16. Tulse Luper Suitcases Pandemic My Beautiful Darkby Peter Greenaway by Lance Weiler Twisted Fantasy3 feature lms 1 short lm By Kanye Westa TV series 1 magazine Album92 DVDs 1 koala Short FilmCD-ROMs 5 secret locations Music Videosbooks 10 scares Twitter 12 totems 60 story artifacts 50 mobile phones 5,000 bottles of water 40,000 people 50,000 photos 3.2 million points of data
  17. Tulse Luper Suitcases Pandemic My Beautiful Dark by Peter Greenaway by Lance Weiler Twisted Fantasy 3 feature lms 1 short lm By Kanye West a TV series 1 magazine Album 92 DVDs 1 koala Short Film CD-ROMs 5 secret locations Music Videos books 10 scares Twitter 12 totems 60 story artifactsDoes the lm language used to compose these pieces of 50 mobile phonescontent change when made part of a transmedia franchise? 5,000 bottles of water 40,000 people 50,000 photos 3.2 million points of data
  18. Even when part of a complex, coordinated transmediae ort, the audience’s expectations of what a “movie” isremains the same.
  19. In addition to being smaller,personal screens are:- connected- controllable- often portable- used in multiple contexts
  20. e multi-screen experience is an inescapable reality oftoday’s distribution landscape, yet lm language itselfhasn’t evolved in response to the fact that contenttravels between vastly di erent media.
  21. Ive never watched “Avatar” on a laptop. I guess itprobably works, but I dont recommend it...What Irecommend is getting the co ee table out of theway and sticking your couch about four feet fromyour TV. James Cameron
  22. It is easier for me to see a minor painting by Caravaggioin a small Umbrian town than it is for me to seeKubricks “2001” in any cinema that would representthat lm in the way it was manufactured to bepresented. Peter Greenaway
  23. e innate pleasures of the cinema as we’ve known it vs e reality that today’s lm distributionenvironment is dependent on a diversity of screens
  24. Merchandise Games Installation Websites Augmented Reality Motion PicturesSocial Media Mobile Music Live Performance
  25. How should lmmakers respond to this technological change?Coordinated transmedia storytelling one compelling way, but perhaps not the only...
  26. mrp diameter
  27. ⅓33 12” LP 22-26 minutes per side
  28. 45 7” Single 3 minutes per side
  29. !""#$%&#(#)*+),+,#*-#.+#"(*+)+,#*-#%(#%#/0-"+1#2*#(#.3-4+)#56#)*-#),7,5%"#*3%84(#-)"&#9-3#+%(+3#)%7:%*-)1
  30. !""#$%&#(#)*+),+,#*-#.+#"(*+)+,#*-#%(#%#/0-"+1#2*#(#.3-4+)#56#)*-#),7,5%"#*3%84(#-)"&#9-3#+%(+3#)%7:%*-)1
  31. timechannels 8:30 9:00 9:30 10:00 10:30
  32. timechannels sitcom 8:30 9:00 9:30 10:00 10:30
  33. timechannels drama 8:30 9:00 9:30 10:00 10:30
  34. Part of the problem is that cross-platformtransformation of media has always been seen as acompromise — we’ve been trained to protect an idealform (even as theatrical projection becomes less andless central to the life of a lm.)
  35. Now if your playing the movie on a telephoneor on your computer, you will never in atrillion years experience the lm. youll thinkyou have experienced it, but you will havebeen cheated. David Lynch
  36. But what if a lm was able to scale to the di erentpresentation environments?
  37. Feature FilmTV Series 1Feature Film 2TV Series 2Feature Film 3
  38. ... we want to do part of it big screen, and then a lot of thecharacter stu — because Stephen King’s stu is so interestingand fascinating, and instead of trying to wedge it into a movie,let the movies be adventure and action. Ron Howard
  39. By telling this story across media platforms and over multiplehours—and with a view to telling it completely—we have ourbest chance of translating Roland’s quest to reach e DarkTower onto screen. Akiva Goldsman
  40. To get [the shorter theatrical version of Carlos] right,we had to reshape the lm. Even stu that looks thesame is not the same. We had to make cuts withinscenes and within shots. We constantly had to nd anew pace for the lm that was obviously quitedi erent from the longer version. Olivier Assayas
  41. I know the general audiences would prefer a shortercut. e thing is that a ve-and-a-half hour lm islocated within a very speci c cinematic space. Interms of style and narration, it allows me to go intoareas that are completely new for me. It’s a muchmore satisfying re ection on cinema and the power ofcinema. It shows how you can deal simultaneouslywith small and big issues – small issues being the fateof one man and big issues being the geopolitics of aperiod. is kind of scope isn’t really possible in ashorter version Olivier Assayas
  42. “Elastic Cinema”
  43. e Dark Tower
  44. Carlos
  45. “Toward a re-invention of cinema”, 2003
  46. Character TV Feature Gaming FilmsNarrative World
  47. Character TV Feature Gaming FilmsNarrative World
  48. Character TV Feature Gaming FilmsNarrative World
  49. What does Elastic Cinema get us? e creation of lmic content which can blend easily withother media within transmedia systems.New revenue opportunities — a lm is also TV series, a Webseries, etc.Cost savings in production for assets that can be used inmultiple venues.A broader creative canvas, and an opportunity to keepinnovating lm language.
  50. Where we need to evolve our approach:WritingAnticipating scale & shifting narrative structure.Directing the CameraProviding choice, to shift uidly from focus on character &narrative to plan-séquence.Distribution & Marketing StrategyExplaining to viewers their di erent choices.
  51. Transmedia = Diverse, coordinated media that eachcontribute to an overall entertainment experience inindividual and separate ways.Elastic Cinema = A uni ed lmic narrative that adjusts inform and style based on the platform on which its beingexperienced.
  52. anks.http://www.possibleworldwide.com

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