The document discusses cross-media experiences using X Factor and Harry Potter as examples. It explains how X Factor uses different media like TV, websites and social media to create an immersive experience for viewers through emotional storytelling, background materials and opportunities for participation. Harry Potter is presented as an experience universe where the story is told across books, films and games, enriched by additional materials and fan activities online. Both aim to fully engage audiences by coordinating media and inviting participation.
From Christy Dena at one of the first LAMP orientation awareness raising seminars in 2005. This one looks at a range of perspectives on cross- media stories, industry initiatives and multiple media types
Christy Dena’s current blog & podcast: www.UniverseCreation101.com
From Christy Dena at one of the first LAMP orientation awareness raising seminars in 2005. This one looks at a range of perspectives on cross- media stories, industry initiatives and multiple media types
Christy Dena’s current blog & podcast: www.UniverseCreation101.com
Fans fuel media, but how fan-centric is your media? This presentation from consultant Nick DeMartino, looks at that question from the perspective of Theatrics.com, a cloud-based collaborative storytelling platform which he advises. The presentation shows how easy it is to create a Theatrics story or brand experience in which fans can directly engage.
Public Service Media and Social TV: Co-creating television comedy with the ne...University of Sydney
Past years have seen a rapid growth in the uses of social media alongside conventional broadcast media such as radio and television. Television shows and networks have increasingly incorporated social media into their programming, for example by promoting the use of Twitter hashtags to channel user interaction with televised content and by showing a selection of incoming hashtagged tweets during live shows; by establishing dedicated Facebook fan pages and Twitter accounts for shows, presenters, or even fictional characters; or by providing their own bespoke social networks and apps such as Fango and Zeebox, which themselves often offer some degree of interconnection with mainstream social media platforms (Harrington, Highfield and Bruns, 2012). Collectively, such initiatives have become known as “social TV”.
To quote Swedish media scholar Oscar Westlund, news consumption is changing rapidly, and thus there is a need for continuous studies into its shifting nature. There is a need for both quantitative and qualitative research into how news consumption across media is transforming, among the public as well as among specific groups. Ideally, such research should attempt to study changes over time in different geographical contexts, or even better, making cross-cultural comparisons to create a more comprehensive understanding of contemporary news consumption. And an important part of such studies is focusing on how news consumption have gained a participatory and co-creative dimension: consumption is also about users sharing, spreading, commenting and even creating content that feeds into to the circuits of news production.
Reservoir Hill and Audiences for Online Interactive Drama (Hardy et al. 2011)The_Joker
A summary of the journal article by Hardy et al. (2011) 'Reservoir Hill and Audiences for Online Interactive Drama' in Particpations, 8 (2), pp.616-643.
Written by Joseba Bonaut and Mª Mar Grandio (2012)
Participations: Journal of Audience & Reception Studies
Volume 9, Issue 2, pp. 558-574.
This article aims to analyze the transmedia narrative and the levels of interaction with their audience of two different television series. In the Spanish and British markets, TV shows like El Barco (2011, present) or Skins (2007-2011) showed a particular transmedia narrative and audience participation with the fictional plot. Following the contributions to the field of three authors (Beeson, 2005, Davidson 2008; Scolari, 2009), this paper proposes a methodology for analyzing these two transmedia narratives and the audience involvement based on four vectors: 1) The relationship between story and medium 2) Narrative aspects (setting, characters, theme and plot), 3) Intertextuality and 4) Distribution and accessibility to the audience. Using this methodology, this article will give firstly an overview of the most popular television fiction with transmedia narratives in the British and Spanish markets. This article will also explain the characteristics of the new profiles of audiences around these selected TV cases and the involvement with the plots and character. The analysis of these two markets will show the encouraging future of the transmedia narratives in the current television industry, while concluding that the effectiveness of the expansion of the fictional universes will appear when finding and fulfilling their audiences generating engagement.
FutureSense: Who Will I Become - Living With a Changing Context
Experiensualism: the future experience of experiences.
In a world of sensory enhancement and augmentation, multiple identities, new notions of the performative, telepresence, total immersion, embodiment, multiple dimensions, cognitive feedback, inter-relational sense clusters, virtual humanity, emotionally intelligent computing and affective social software, HMI, Artificial intelligence and simultaneous multi-sensory connectivity, we are beginning to understand that we are becoming a different kind of human, with the potential for a vast new array of experiences.
In fusing the essence of related philosophies, social change, human morphing and emerging technologies, Derek will discuss the types of future experiences that will be available to us, together with how we will participate, our future sensory expectations and how such changes will drive a new context for human-ness.
Derek Woodgate is a practicing futurist, author, speaker and innovator, with over 25 years of international business experience, having had positions on the boards of two major corporations and nearly 10 years working with the British Foreign and Commonwealth Office. Derek is currently President and CEO of The Futures Lab, Inc, a futures-based consultancy, which he founded in January 1998, with offices around the globe. The Futures Lab specializes in leveraging future potential, for major corporations and institutions.
Presentation by Peter Ballantyne to Media Worshop at Seminar: What role for citizens in the construction of a fair and responsible Europe?, Paris, 18 November 2008
Fans fuel media, but how fan-centric is your media? This presentation from consultant Nick DeMartino, looks at that question from the perspective of Theatrics.com, a cloud-based collaborative storytelling platform which he advises. The presentation shows how easy it is to create a Theatrics story or brand experience in which fans can directly engage.
Public Service Media and Social TV: Co-creating television comedy with the ne...University of Sydney
Past years have seen a rapid growth in the uses of social media alongside conventional broadcast media such as radio and television. Television shows and networks have increasingly incorporated social media into their programming, for example by promoting the use of Twitter hashtags to channel user interaction with televised content and by showing a selection of incoming hashtagged tweets during live shows; by establishing dedicated Facebook fan pages and Twitter accounts for shows, presenters, or even fictional characters; or by providing their own bespoke social networks and apps such as Fango and Zeebox, which themselves often offer some degree of interconnection with mainstream social media platforms (Harrington, Highfield and Bruns, 2012). Collectively, such initiatives have become known as “social TV”.
To quote Swedish media scholar Oscar Westlund, news consumption is changing rapidly, and thus there is a need for continuous studies into its shifting nature. There is a need for both quantitative and qualitative research into how news consumption across media is transforming, among the public as well as among specific groups. Ideally, such research should attempt to study changes over time in different geographical contexts, or even better, making cross-cultural comparisons to create a more comprehensive understanding of contemporary news consumption. And an important part of such studies is focusing on how news consumption have gained a participatory and co-creative dimension: consumption is also about users sharing, spreading, commenting and even creating content that feeds into to the circuits of news production.
Reservoir Hill and Audiences for Online Interactive Drama (Hardy et al. 2011)The_Joker
A summary of the journal article by Hardy et al. (2011) 'Reservoir Hill and Audiences for Online Interactive Drama' in Particpations, 8 (2), pp.616-643.
Written by Joseba Bonaut and Mª Mar Grandio (2012)
Participations: Journal of Audience & Reception Studies
Volume 9, Issue 2, pp. 558-574.
This article aims to analyze the transmedia narrative and the levels of interaction with their audience of two different television series. In the Spanish and British markets, TV shows like El Barco (2011, present) or Skins (2007-2011) showed a particular transmedia narrative and audience participation with the fictional plot. Following the contributions to the field of three authors (Beeson, 2005, Davidson 2008; Scolari, 2009), this paper proposes a methodology for analyzing these two transmedia narratives and the audience involvement based on four vectors: 1) The relationship between story and medium 2) Narrative aspects (setting, characters, theme and plot), 3) Intertextuality and 4) Distribution and accessibility to the audience. Using this methodology, this article will give firstly an overview of the most popular television fiction with transmedia narratives in the British and Spanish markets. This article will also explain the characteristics of the new profiles of audiences around these selected TV cases and the involvement with the plots and character. The analysis of these two markets will show the encouraging future of the transmedia narratives in the current television industry, while concluding that the effectiveness of the expansion of the fictional universes will appear when finding and fulfilling their audiences generating engagement.
FutureSense: Who Will I Become - Living With a Changing Context
Experiensualism: the future experience of experiences.
In a world of sensory enhancement and augmentation, multiple identities, new notions of the performative, telepresence, total immersion, embodiment, multiple dimensions, cognitive feedback, inter-relational sense clusters, virtual humanity, emotionally intelligent computing and affective social software, HMI, Artificial intelligence and simultaneous multi-sensory connectivity, we are beginning to understand that we are becoming a different kind of human, with the potential for a vast new array of experiences.
In fusing the essence of related philosophies, social change, human morphing and emerging technologies, Derek will discuss the types of future experiences that will be available to us, together with how we will participate, our future sensory expectations and how such changes will drive a new context for human-ness.
Derek Woodgate is a practicing futurist, author, speaker and innovator, with over 25 years of international business experience, having had positions on the boards of two major corporations and nearly 10 years working with the British Foreign and Commonwealth Office. Derek is currently President and CEO of The Futures Lab, Inc, a futures-based consultancy, which he founded in January 1998, with offices around the globe. The Futures Lab specializes in leveraging future potential, for major corporations and institutions.
Presentation by Peter Ballantyne to Media Worshop at Seminar: What role for citizens in the construction of a fair and responsible Europe?, Paris, 18 November 2008
Paper together with Dorthe Refslund Christensen as part of the panel "Everyday digital media use in a life course perspective" at the ECREA 2016 conference in Prague November 12th 2016.
Leg og læring: workshop på Moesgaard MuseumKjetil Sandvik
Fokus:
Deltagende publikum: opgør med envejs-kommunikation: formidling som overførsel af information fra museet til museumsgæsten
Publikum får mulighed til at engagere sig og være i dialog med udstillingen og dens indhold og måske endda den måde som udstillingen er blevet til på.
Publikum er mere end blot modtagere som skal informeres og (ud)dannes: de får rollen som medspillere, som medskabere og deltagere i interaktive processer hvor fokus er på hvad fx kulturhistorie er for noget, hvordan vi har fået viden om den, hvad vi ved, hvad vi ikke ved, hvad vi gætter os til…
En legende tilgang til museumsformidling er at sætte sin viden og ekspertise på/i spil
Heterotopic relations between media and materiality in children's online memo...Kjetil Sandvik
In this paper we analyze how bereaved parents make use of various media-strategies on online memorial sites and on children’s graves when performing processes of grief and commemoration for their stillborns and infants, and how these processes are not just linked to one particular media but take place across media. We show how the death of an infant can lead to mediation, remediation and mediatization strategies which involves both the uses and arrangement of objects on memorial pages and on children’s graves as well as uses of new social technologies, that produce, negotiate and develop social relations, belonging and coherence that are both individual and relational and that are made possible by ritually establishing online memorials and graves as heterotopic interfaces that opens certain communicational flows and accesses specific communicative spaces concerning most prominently the ongoing relations with the dead child and the (re)negotiating of parenthood.
We understand media as a function of an object reflected in human practices and embedded and structured by the different materialities they are intertwined with. We argue that the use of media and materiality online and on the graves are, in various ways, a remediation of everyday parental practices and we demonstrate how such practices and relations are structured in some basic social matrices of how to perform parenthood, both in relation to the dead child and in relation to achieving social appreciation of the missing child and the role as being parents even when the child has died.
Gamificeret undervisning - metoder og erfaringerKjetil Sandvik
Leg og spil er grundlæggende elementer i børns tidlige læring. Fra Vygotski og Piaget ved vi at forskellige lege- og spilaktiviteter udvikler børns forskellige kompetencer. Med andre ord: leg og spil har et stort potentiale som læringsredskaber. Det samme syn på leg og spils læringspotentiale gør sig i mindre grad gældende når vi når op i uddannelsessystemet til trods for at der er gode pædagogiske og didaktiske grunde til at sætte den indlevelse og det engagement som spil-aktiviteter rummer i undervisningens tjeneste – selv på universitetet. Nok findes der læringsspil, som anvendes i undervisningen, men disse er typisk eksotiske indslag i et undervisningsforløb og ikke noget, der udgør basis for selve forløbet og den måde det tilrettelægges på. Dette paper omhandler en række erfaringer fra forskningsprojektet Spil og scenario-baserede læringsmoduler (2016-projektet Online and Blended Learning, Københavns Universitet 2014-2016) med at ’gamificere’ universitetsundervisning, dvs. at anvende spilelementer og spilformater som pædagogiske værktøjer i tilrettelæggelse og gennemførelse af kurser eller kursuselementer.
Gamificeret undervisning - metoder og erfaringerKjetil Sandvik
Paper på Dansk Universitetetspædagogisk Netværk konference 17.-18. maj 2016 med udgangspunkt i forsknings- og udviklingsprojektet Online and Blended Learning: Spil og scenariobaserede undervisningsmoduler, Københavns Universitet
2. Cross media communication
• Collaborative interplay between different
media
• Each media playing its specific role and
delivering its part of the overall story
• Putting to play the specific strengths of
each media (the media does what it does
best!)
3. Cross media communication
• It is about getting through to the user
• It is about giving the user a broader and
richer media experience
• It is about giving the user the possibility to
get engaged and to be involved in the
media experience on different levels and
to various degrees
• It is about giving the user the possibility for
participation and co-creation.
4. The elements of the media
cirquit (John Fiske 1987)
• the primary text (the movie/tv-series)
• the secondary text (pr/marketing,
background material, bonus material:
surrounding the primary text)
• the tertiary text (the user’s own texts: are
produced on the background of the
primary and secondary text)
• Cross media productions (and their
new media cirquits) changes this
hierarchy
5. New media cirquits
• Cross media production:
• Connects primary, secondary and tertiary
texts into one common media text
• Embeds possibilities for participation
• Uses several communication matrixes:
• One-to-many (the TV show in itself)
• One-to-one (chats)
• Many-to-many (debate forums, quizzes, games…)
• One-to-one-as-group (communities on e.g. FB)
• Attempt to create a sense of belonging in
the user based on identification AND
interaction
6. Convergence culture
• This circulation of media content - across
different media systems, competing media
economies, and national borders - depends
heavily on consumer's active participation.
• Convergence should NOT be understood
primarily as a technological process bringing
together multiple media functions within the
same devices.
• Instead, convergence represents a cultural
shift as consumers are encouraged to seek
out new information and make connections
among dispersed media content.
» Henry Jenkins
7. Cross media experiences
• Experience through
• engagement and identification
• participation
• collaboration
• co-creation
• Two types of cross media experience
• Experience + (the augmentation of experience of
one specific media by implementing other media in
the communication-structure, e.g. a website to a
TV-show)
• Experience universe (interplay between different
media: e.g. book, movies, games)
9. Engagement and identification
• The use of the TV media’s strenghts: ‘Storytelling classic’
to create emotional intensification
– A dramatic plot: the contest-format
– The use of classical dramatic agents (most prominent in the first two
seasons of the show): the good vs. the bad
– Use of personal and emotionally loaded stories
– Use of emotionally manipulative editing: production of ’magic
moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears
and more tears…
– Website: augmentary media with a surplus of background materials
about participants, their reactions to the judges and so on: extends the
possibility for engagement and interaction and introduces a possibility
for participation (guestbooks, chats, blogs…)
– Web 2.0: connecting and spreading the experience through the users’
own networks
11. Engagement and identification
• The use of the TV media’s strenghts: ‘Storytelling classic’
to create emotional intensification
– A dramatic plot: the contest-format
– The use of classical dramatic agents (most prominent in the first
two seasons of the show): the good vs. the bad
– Use of personal and emotionally loaded stories
– Use of emotionally manipulative editing: production of ’magic
moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears
and more tears…
– Website: augmentary media with a surplus of background materials
about participants, their reactions to the judges and so on: extends the
possibility for engagement and interaction and introduces a possibility
for participation (guestbooks, chats, blogs…)
– Web 2.0: connecting and spreading the experience through the users’
own networks
14. Engagement and identification
• The use of the TV media’s strenghts: ‘Storytelling classic’
to create emotional intensification
– A dramatic plot: the contest-format
– The use of classical dramatic agents (most prominent in the first two
seasons of the show): the good vs. the bad
– Use of personal and emotionally loaded stories
– Use of emotionally manipulative editing: production of ’magic
moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears
and more tears…
– Website: augmentary media with a surplus of background materials
about participants, their reactions to the judges and so on: extends the
possibility for engagement and interaction and introduces a possibility
for participation (guestbooks, chats, blogs…)
– Web 2.0: connecting and spreading the experience through the users’
own networks
16. Engagement and identification
• The use of the TV media’s strenghts: ‘Storytelling classic’
to create emotional intensification
– A dramatic plot: the contest-format
– The use of classical dramatic agents (most prominent in the first two
seasons of the show): the good vs. the bad
– Use of personal and emotionally loaded stories
– Use of emotionally manipulative editing: production of ’magic
moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears,
tears and more tears…
– Website: augmentary media with a surplus of background materials
about participants, their reactions to the judges and so on: extends the
possibility for engagement and interaction and introduces a possibility
for participation (guestbooks, chats, blogs…)
– Web 2.0: connecting and spreading the experience through the users’
own networks
17.
18.
19. Engagement and identification
• The use of the TV media’s strenghts: ‘Storytelling classic’
to create emotional intensification
– A dramatic plot: the contest-format
– The use of classical dramatic agents (most prominent in the first two
seasons of the show): the good vs. the bad
– Use of personal and emotionally loaded stories
– Use of emotionally manipulative editing: production of ’magic
moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears
and more tears…
– Website: augmentary media with a surplus of background
materials about participants, their reactions to the judges and so
on: extends the possibility for engagement and interaction and
introduces a possibility for participation (guestbooks, chats,
blogs…)
– Web 2.0: connecting and spreading the experience through the users’
own networks
24. Engagement and identification
• The use of the TV media’s strenghts: ‘Storytelling classic’
to create emotional intensification
– A dramatic plot: the contest-format
– The use of classical dramatic agents (most prominent in the first two
seasons of the show): the good vs. the bad
– Use of personal and emotionally loaded stories
– Use of emotionally manipulative editing: production of ’magic
moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears
and more tears…
– Website: augmentary media with a surplus of background materials
about participants, their reactions to the judges and so on: extends the
possibility for engagement and interaction and introduces a possibility
for participation (guestbooks, chats, blogs…)
– Web 2.0: connecting and spreading the experience through the
users’ own networks: RSS-feeds, apps for mobile phone,
Facebook profile, Twitter profile.
33. Engagement and identification
• The use of the TV media’s strenghts: ‘Storytelling classic’
to create emotional intensification
– A dramatic plot: the contest-format
– The use of classical dramatic agents (most prominent in the first two
seasons of the show): the good vs. the bad
– Use of personal and emotionally loaded stories
– Use of emotionally manipulative editing: production of ’magic
moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears
and more tears…
– Website: augmentary media with a surplus of background
materials about participants, their reactions to the judges and so
on: extends the possibility for engagement and interaction and
Storytelling 2.0
introduces a possibility for participation (guestbooks, chats,
blogs…) - participation
– Web 2.0: connecting and spreading the experience through the
- co-creation
users’ own networks: RSS-feeds, apps for mobile phone,
Facebook profile, Twitter profile.
34. X factor cross media
Other media
experience+
May not be (fully) controlled Other DR
radio and TV
shows
Website Backstage TV-show
Aftenshowet
Updates: Mobile phone
RSS, app,
FB, Twitter
Live events
Viewers
DR blogs
+ Aftenshowet’s and other
Red arrows = participation and co-creation DR TV and radio shows’ website
35. X factor is more than just at TV
show
• As a media event X-factor transgresses its
boundaries as a stand-alone TV show
• It invites the viewer not just to a TV
experience but to become a participant in a
collective course of events
• The viewer can get involved, participate and
have influence on several levels
• And different media play specific – and
coordinated – roles according to their
strengths in creating this cross media
experience.
37. Rich media experience
• The cross-media story about Harry Potter is not
told by one single media which the other media
relates to in a hierarchical sense.
• Although it all starts with the novels of J.K.
Rowlings, the movies based on the novels can be
seen quite independent of the novels.
• And the games (primarily) based on the movies,
may also be played quite independently.
• As such the cross-media structure of Harry Potter
as an experience universe consists of 7 books, 7
movies and 7 games in three interconnected
series each dealing with the same narrative across
the 3 media – a year in the life of Harry Potter at
the Hogwarts school of sorcery.
38. Rich media experience
• The possibility for engagement and
participation is ensured by the
implementation of websites related to each
novel/movie/game.
• The experience is richened by the
existence of websites (J.K. Rowling’s own
Potter-site, various fansites etc.), books
and games relating to the entire Harry
Potter-universe across the 7-year episodic
plot-structure etc.
39.
40.
41.
42.
43.
44.
45.
46.
47.
48.
49.
50. JK Books based Games based on
Fansites, fx on the entire
Rowlings the entire Merchan
Harry Potter universe, e.g. universe, e.g.
official -dise
Fan Zone Quidditch LEGO Harry
website
throuout times Potter Years 1-4
The entire Harry Potter universe
Book series Film series Game series
Harry Potter Harry Potter Harry Potter
and the and the and the
Sorcerers Sorcerers Sorcerers
Stone Stone Stone
(book) (movie) (game)
Website Website Website
User
51. Experience universe
• As a cross-media production Harry Potter
produces not just an augmentation of the
experience of a specific media.
• It creates an experience universe in which the
user is offered a cross media experience in
words, moving pictures and interactive action.
• Storytelling classic: novels, movies
• Storytelling 2.0 (participation): computer games,
playable merchandise (e.g. LEGO), interactive
features on official websites (e.g. jkrowling.com)
• Storytelling 2.0 (co-creation): fan-sites and other
forums for users expanding on the HP-universe
(e.g. by writing fanfiction)