Transmedia Storytelling and Digital Advertising


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Transmedia Storytelling and Digital Advertising, presentation made at PaperCliQ, digital brazilian agency.

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Transmedia Storytelling and Digital Advertising

  1. 1. Transmedia Storytelling Digital Advertising
  2. 2. PaperCliQ Study Group The PaperCliQ Study Group (Grupo de Estudos da PaperCliQ – GEPIQ) is a initiative of decentralized corporate education. It consists in periodic encounters of the whole agency team, in which each person presents a small piece of a bigger theme, previously chosen. These reunions allows the agency to advance the knowledge of all members, as the ability to present. The presentations are available online: * Click to view the portuguese version of this presentation / Clique para ver a versão em português dessa apresentação
  3. 3. What is transmedia? “ Stories that unfold across multiple media platforms, with each medium making distinctive contributions to our understanding of the world, a more integrated approach to franchise development than models based on urtexts and ancillary products. ” - Henry Jenkins (MIT Comparative Studies Program) in Convergence Culture
  4. 4. What is transmedia? “ The art of conveying messages themes or storylines to mass audiences through the artful and well planned use of multiple media platforms.” “ People don’t want to watch the SAME story over different gadgets; they want deeper penetration into story to reveal MORE story.” – Jeff Gomez (Starlight Runner Entertainment)
  5. 5. What is transmedia? Related concepts: - Cross media (Bechman Petersen, 2006) - Multiple plataforms (jeffrey-Poulter, 2003) - Hybrid Media (Boumans, 2004) - Intertextual Commodity (Marshall, 2004) - Transmedial Worlds (Klastrup & Tosca, 2007) - Transmedial Interactions (Bardzell et al., 2007) - Multimodality (Kress & Van Leeuwen, 2001) - Intermedia (Higgins, 1966)
  6. 6. Reflections on Transmedia Storytelling: a) Multiplicity over Continuity; b) World Making; c) Seriality; d) Remix; e) Each media should do what it does best. f) Each part is self-sufficient in their own terms; g) It should not be redundant or contradictory; h) May attract various audiences through different approaches in different media ; i) Uses the logic of "license"for co-creation ; j) Can form communities - brings people together and gives them something to do . What is transmedia?
  7. 7. Multimedia x Transmedia " Transmedia is not synonymous to adaptations in different media " - Giselle Beiguelman (2010) What is transmedia? Multimedia Transmedia - Spectator - A Message - Fixed content - Content repetition between media - Limited depth of content - Pre-planned - Participant - A Story - Evolving story - Little repetition between media - Deep content - Real-time and responsive
  8. 8. Prosumer = Consumer + Producer – Alvin Toffler Participatory Culture and Convergence <ul><li>From spectator to participant: the public want to go further, find new possibilities and experiences in the stories. </li></ul><ul><li>The new user/reader handles: </li></ul><ul><li>Interactivity </li></ul><ul><li>Networks </li></ul><ul><li>Fragmentation </li></ul><ul><li>Quick adaptation to new interfaces </li></ul><ul><li>Multi-screens </li></ul><ul><li>Intertextuality </li></ul>
  9. 9. World Making
  10. 10. World Making
  11. 11. World Making
  12. 12. World Making
  13. 13. World Making
  14. 14. World Making
  15. 15. Creating Transmedia Narratives <ul><li>Development Stages of a Transmedia Project </li></ul><ul><li>- Creation of interstitial micro-stories; </li></ul><ul><li>- Creation of parallel stories (spin-off) ; </li></ul><ul><li>- Creation of peripheral stories (satellites) ; </li></ul><ul><li>- Creation of user-generated-content platforms (fan-fiction) </li></ul><ul><li>How to tell transmedia stories? </li></ul><ul><li>Launching an eagerly awaited product </li></ul><ul><li>Motivating a fan base </li></ul><ul><li>- Creating depth of engagement </li></ul><ul><li>- Multi-channel integration </li></ul><ul><li>- Reducing redundancy </li></ul><ul><li>- Co-creating content </li></ul>
  16. 16. Advertising and Transmedia “ Transmedia content not only promotes the product: it becomes part of the product &quot; - Ivan Askwith (Senior Content Strategist - Big Spaceship)
  17. 17. Cases The Hire - After a year, the number of users who visited the site to download the BMW The Hire Shot was about 21 million. With the addition of three more films in 2002, the number increased to 100 million. One million fans have asked a DVD with all eight films in the campaign.
  18. 18. Cases Audi - The Art of the Heist - An Audi Project The company said the project has generated four times more online buzz for the A3 compact, engaging more than 200 000 people in a single day and attracting 79% of qualified visitors to the site from Audi, compared with previous reports. Within days of the campaign launch, seven sites were created by fans, including &quot;Top 10 Reasons to Play Art of the Heist&quot;
  19. 19. Cases Batman - The Dark Knight: The integrated campaign of the film has generated 50 million searches in Google for &quot;The Dark Knight&quot;and more than 55,000 videos tagged &quot;The Dark Knight&quot; on Youtube. On July 18, 2008, the website The Dark Knight has reached 1.5% of all Internet users. There were 5,270 inbound links to the website of the film. On July 18, the BlogPulse recorded a peak of 1.307% of all posts on the web. Some of the videos on YouTube have received over 4 million views and generated hundreds of thousands of comments.
  20. 20. Difficulties 1 - In some cases, Transmedia Storytelling promote themselves, instead of the brand or product; 2 - Just because a brand can be integrated into a Transmedia Narrative, does not mean it should be; 3 - Not all brands benefit from the creation of Transmedia Narratives; some harm themselves .
  21. 21. Challenges a) Storytelling works for brands outside of the entertainment industry? b) Does your brand/product have fans and/or advocates? c) Does your brand have a story? d) Does the story have to be fictional? e) Does fiction fit with your brand’s values? f) Can we gear-up to a ‘continuous’ rather than ‘start-stop’ mode of prodction g) How to minimize failure risks?
  22. 22. References <ul><li> </li></ul><ul><li> </li></ul><ul><li> </li></ul><ul><li> </li></ul><ul><li> </li></ul><ul><li> </li></ul>
  23. 23. + Content: Marcel Ayres Tel.: 55 71 3013 1432 Av. Tancredo Neves – Ed. Esplanada Tower, 939 – Sala 403 – Caminho das Árvores | CEP 41.820-021 | Salvador-BA