Taking a look at storytelling in the digital era, keeping in mind the three-legged stool -- content, technology, and business model. Lots of examples. Lots of links. I used this in a presentation to a media studies class at Woodbury University on March 31, 2014
The Future of Media: Open, Mobile, Connected (MPJC Hilversum 2009)Gerd Leonhard
This is the PDF with my presentation at the Media Park Jaar Congress in Hilversum (NL) on June 23, 2009. Topics: social medai, twitter, content 2.0, broadband culture, the Future of TV etc more at my blog http://www.mediafuturist.com/2009/06/the-future-of-media-open-mobile-connected-collaborative-presentation-at-mpjc-2009.html
Rovio Mobile was a small Finnish game developer company that was on the edge of bankruptcy in 2009. They created the mobile game Angry Birds to try to survive, betting on the growing iPhone app market. The game became a huge success, with over 100 million downloads and becoming the best selling game in the Apple Store. The game was simple - players used a slingshot to destroy structures by throwing birds. It was easy to play in short bursts. This success was possible due to the rise of internet platforms that allowed peer-to-peer sharing of content and games. People have also engaged in piracy and illegal sharing of copyrighted content, making it harder for media companies to sustain traditional business models.
Transmedia storytelling Narrative strategies, fictional worlds and branding ...Carlos Alberto Scolari
The document discusses transmedia storytelling, which involves telling narratives across multiple media platforms. It provides definitions of transmedia storytelling, comparing it to related concepts. Examples are given of franchises that effectively use transmedia storytelling like Star Wars and 24. Strategies for expanding fictional worlds across media are discussed. The importance of transmedia storytelling for branding and monetization is also covered.
PN London and a team of experts has been analyzing some of the key themes emerging from this year's SXSW.
For more information, please email Philip Honour on philip.honour@porternovelli.co.uk
The digital world has so disrupted the business models of newspapers, radio, television, music and even Hollywood that the yin and yang of mass media and mass marketing are flying apart. We are in the midst of total collapse of the media infrastructure we have taken for granted for 400 years.
This document summarizes Liz Rosenthal's presentation at the Danish Film Institute on opportunities in the digital frontier for filmmakers. It discusses how the digital world allows for more direct connections between creators and audiences, more audience participation, and new models for financing, distributing, and engaging with films across multiple platforms through techniques like crowdsourcing, crowdfunding, and cross-media storytelling. Several examples of films and filmmakers using these new digital strategies are provided.
The Future of Media: Open, Mobile, Connected (MPJC Hilversum 2009)Gerd Leonhard
This is the PDF with my presentation at the Media Park Jaar Congress in Hilversum (NL) on June 23, 2009. Topics: social medai, twitter, content 2.0, broadband culture, the Future of TV etc more at my blog http://www.mediafuturist.com/2009/06/the-future-of-media-open-mobile-connected-collaborative-presentation-at-mpjc-2009.html
Rovio Mobile was a small Finnish game developer company that was on the edge of bankruptcy in 2009. They created the mobile game Angry Birds to try to survive, betting on the growing iPhone app market. The game became a huge success, with over 100 million downloads and becoming the best selling game in the Apple Store. The game was simple - players used a slingshot to destroy structures by throwing birds. It was easy to play in short bursts. This success was possible due to the rise of internet platforms that allowed peer-to-peer sharing of content and games. People have also engaged in piracy and illegal sharing of copyrighted content, making it harder for media companies to sustain traditional business models.
Transmedia storytelling Narrative strategies, fictional worlds and branding ...Carlos Alberto Scolari
The document discusses transmedia storytelling, which involves telling narratives across multiple media platforms. It provides definitions of transmedia storytelling, comparing it to related concepts. Examples are given of franchises that effectively use transmedia storytelling like Star Wars and 24. Strategies for expanding fictional worlds across media are discussed. The importance of transmedia storytelling for branding and monetization is also covered.
PN London and a team of experts has been analyzing some of the key themes emerging from this year's SXSW.
For more information, please email Philip Honour on philip.honour@porternovelli.co.uk
The digital world has so disrupted the business models of newspapers, radio, television, music and even Hollywood that the yin and yang of mass media and mass marketing are flying apart. We are in the midst of total collapse of the media infrastructure we have taken for granted for 400 years.
This document summarizes Liz Rosenthal's presentation at the Danish Film Institute on opportunities in the digital frontier for filmmakers. It discusses how the digital world allows for more direct connections between creators and audiences, more audience participation, and new models for financing, distributing, and engaging with films across multiple platforms through techniques like crowdsourcing, crowdfunding, and cross-media storytelling. Several examples of films and filmmakers using these new digital strategies are provided.
Whirlpool presents the volume 2 of the Digital School. Lesson 4 is dedicated to storytelling and how to create interesting content for your audience, in order to stay relevant in a crowded landscape.
Social media communication_lecture_2012GretaMedelyte
1. The document discusses the impact of new media on communication and creativity in advertising. It analyzes how communication models have shifted from mass to personalized media with more audience involvement and engagement.
2. New media allows for a "third layer" of experiential advertising beyond just announcements, through interactive and social campaigns. This has implications for the structure of agencies and the creative process.
3. Mobile devices are increasingly important communication tools, as they allow messages to reach audiences in opportune moments. New forms of viral, user-generated, and socially enabled advertising are emerging that engage audiences in two-way conversations.
This document summarizes key points from the book "Branding Unbound" about how wireless technologies are changing advertising and branding. It discusses emerging technologies like Wi-Fi, Bluetooth, GPS and how they allow more personalized and location-based marketing. It also provides principles for effective mobile branding, noting that ads should be relevant, integrated across channels and leverage wireless capabilities. Marketers are encouraged to focus on building trust through compelling and engaging experiences rather than just pushing ads.
Franklin D. Roosevelt believed that advertising has played a key role in raising standards of modern civilization by spreading knowledge of higher standards. Display advertising allows for entertaining and engaging experiences when interactive, timely, and relevant. Effective display ads grab attention through integration with content, rich media, interactivity, and high relevance. Advertisers should utilize contextual and responsive creative content that interacts with consumers on their preferred platforms.
This document summarizes key trends and issues discussed at SXSW 2017. The top trends included mobile messaging continuing to evolve as a major marketing channel, the ongoing evolution of video consumption and creation, and virtual and augmented reality still being in the early adoption phase and facing challenges around cost and user experience. Other trends focused on connected digital lives, healthcare innovation, ethics around data use, voice interfaces, artificial intelligence, polarization in public discourse, and concerns about short-term thinking. The document encourages identifying major trends and innovating within those areas while also considering issues like data security, accountability, and serving audience needs with useful and exciting solutions.
Transmedia Ready Masterclass San Sebastian Film Festival 2011 bisKarine Halpern
10th Annual International Film Students Meeting
Encuentro Internacional Estudiantes de Cine
59th San Sebastian Film Festival 2011
Tabakalera International Contemporary Culture Centre
NO MORE PLAGIARY PLEASE - MENTION YOUR SOURCES - ASK PERMISSION
Here are some potential pros and cons of digital film piracy from the perspectives of institutions and audiences:
Cons for institutions:
- Loss of revenue from lost sales/rentals of legitimate copies
- Difficulty in enforcing copyright in the digital world
- Threat to traditional business models of production and distribution
Pros for audiences:
- Increased access to films for free or low cost
- Ability to sample films before purchasing
- Convenience of digital copies that can be accessed anywhere
However, piracy also poses challenges for the long-term sustainability of the creative industries. Overall, there are reasonable arguments on both sides of this complex issue.
Social Commerce - is the next big thing. Supercharged word-of-mouth makes
'the conversation around content king'.
The lure of social commerce is rapidly attracting more and varied competitors.
10 point summary.
By Antony Hing
Social Media in the Confectionery IndustryPete Healy
How the confectionery industry can use social media marketing for profitable growth. Presented at the 65th annual PMCA Production Conference in Lancaster, PA, April 2011, and published in the June 2011 issue of The Manufacturing Confectioner magazine.
Here are the slides I used for my "Transmedia" presentation I made to the Dallas Video Festival on Sept 25, 2011. The notes field include lots of URLs for additional content.
This document discusses 10 questions that will define the future of television. It outlines how television is facing major challenges and disruption from new technologies and digital media. Key points include television transitioning from traditional channels and networks to on-demand streaming accessed across multiple screens anytime; content being created and shared by both professional producers and users; and television evolving from a passive viewing experience to an interactive and immersive one.
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.
This document discusses the rise of fan-powered media and how audiences are now actively engaged with the content they consume. It argues we have entered an "Era of Fan-centric Media" where fans have the ability and desire to deeply engage with each other around TV shows and popular franchises through social networks and user-generated content. This level of engagement has transformed passive audiences into active communities that help drive discussion and shape narratives through unofficial sites and derivative works. It uses the example of The Walking Dead TV show to illustrate how fans can engage across official and unofficial sites to immerse themselves more fully in the story world.
THE STORY CUBE. Understanding the many dimensions of today's storytelling.Nick DeMartino
Here's the slides from a talk I gave to my friend Anna Marie Piersimoni's class at California State University, Northridge. The "cube" includes the three-legged stool, the traditional narrative dimensions, and those that are new in the digital world.
Getting Started in Transmedia Storytelling - 2nd EditionRobert Pratten
This is the second edition of Robert Pratten's massively popular Getting Started in Transmedia Storytelling. It's a practical guide to developing cross-platform and pervasive entertainment written by a thought-leader and early practitioner. Whether you're a seasoned pro or a complete newbie, this book is filled with tips and insights gained from years of work in multi-platform interactive storytelling.
Buy a hardcopy
https://www.createspace.com/5655357
From Amazon
http://www.amazon.com/Getting-Started-Transmedia-Storytelling-Practical/dp/1515339165/
On Kindle
http://www.amazon.com/Getting-Started-Transmedia-Storytelling-2nd-ebook/dp/B0145T6I6Q/
The famous Harry Potter sorting hat. It’s a fitting metaphor for this presentation, as I sort through the emerging history of transmedia storytelling. I will start by discussing my own background, and sharing my current obsessions for certain stories, explore definitions, precursors, breakthroughs, current examples and resources.
Transmedia storytelling involves telling a story across multiple media platforms. It allows for a more complete experience as different parts of the larger story are told through different media like books, films, television shows and video games. The full story can only be understood by experiencing it across all of its parts. Effective transmedia engages audiences through participatory culture by encouraging them to share, discuss and create new content that expands the narrative in a non-linear way across different digital platforms like social media, blogs and wikis. It aims to build emotional connections between audiences and brands or franchises.
Transient Identiti Socialization Of MarketingIdentitiLab
The document discusses how technology and social shifts have led to the socialization of marketing. Traditional purchase funnels have been disrupted as consumers now have more power and influence over brands. Marketing has shifted from a paradigm of dictation to dialogue, with technology enabling deeper brand awareness through consumer conversations across many touchpoints. Successful brands will participate in market conversations across social networks and platforms to build communities and loyalty.
Social Storytelling - The Magic (@Greenhouse Project @CreativeNiche)Yvette Pasman
Containing:
- Storytelling: why we love it
- Numbers of growth of social networks and the new rules of engagement
- Case stories: Dell, Ford Fiesta, Pepsi Refresh Project, Levi's Go Forth, Akzo Nobel Let's Colour, Yellow Pages Hidden Pizza, Toms Shoes & Eyewear
Please DO share your thoughts:
www.indegarage.nl
@tweedejansteen
Nos encontramos en medio de un movimiento sísmico donde la fragmentación de audiencias ha cambiado las reglas del juego. El inconformismo de los consumidores de ve reflejado en el estudio de Arena (Grupo Havas) donde el 75% de los consumidores consideran que las marcas no les aporta nada.
Hay un claro deseo de cambiar de marca constantemente. Las marcas deben alcanzar más valor en su comunicación y inversión en Marketing para ser competitivo y relevantes.
Vivimos en un mundo orgánico donde la conexión entre personas ha hecho que nuestro mundo sea más plano, pequeño. Por eso la comunicación se ha reestructurado para conseguir conexiones relevantes nutridas por el Data y el Contenido.
Bienvenido a este nuevo mundo y la visión de como enfocar el marketing desde una perspectiva orgánica.
Whirlpool presents the volume 2 of the Digital School. Lesson 4 is dedicated to storytelling and how to create interesting content for your audience, in order to stay relevant in a crowded landscape.
Social media communication_lecture_2012GretaMedelyte
1. The document discusses the impact of new media on communication and creativity in advertising. It analyzes how communication models have shifted from mass to personalized media with more audience involvement and engagement.
2. New media allows for a "third layer" of experiential advertising beyond just announcements, through interactive and social campaigns. This has implications for the structure of agencies and the creative process.
3. Mobile devices are increasingly important communication tools, as they allow messages to reach audiences in opportune moments. New forms of viral, user-generated, and socially enabled advertising are emerging that engage audiences in two-way conversations.
This document summarizes key points from the book "Branding Unbound" about how wireless technologies are changing advertising and branding. It discusses emerging technologies like Wi-Fi, Bluetooth, GPS and how they allow more personalized and location-based marketing. It also provides principles for effective mobile branding, noting that ads should be relevant, integrated across channels and leverage wireless capabilities. Marketers are encouraged to focus on building trust through compelling and engaging experiences rather than just pushing ads.
Franklin D. Roosevelt believed that advertising has played a key role in raising standards of modern civilization by spreading knowledge of higher standards. Display advertising allows for entertaining and engaging experiences when interactive, timely, and relevant. Effective display ads grab attention through integration with content, rich media, interactivity, and high relevance. Advertisers should utilize contextual and responsive creative content that interacts with consumers on their preferred platforms.
This document summarizes key trends and issues discussed at SXSW 2017. The top trends included mobile messaging continuing to evolve as a major marketing channel, the ongoing evolution of video consumption and creation, and virtual and augmented reality still being in the early adoption phase and facing challenges around cost and user experience. Other trends focused on connected digital lives, healthcare innovation, ethics around data use, voice interfaces, artificial intelligence, polarization in public discourse, and concerns about short-term thinking. The document encourages identifying major trends and innovating within those areas while also considering issues like data security, accountability, and serving audience needs with useful and exciting solutions.
Transmedia Ready Masterclass San Sebastian Film Festival 2011 bisKarine Halpern
10th Annual International Film Students Meeting
Encuentro Internacional Estudiantes de Cine
59th San Sebastian Film Festival 2011
Tabakalera International Contemporary Culture Centre
NO MORE PLAGIARY PLEASE - MENTION YOUR SOURCES - ASK PERMISSION
Here are some potential pros and cons of digital film piracy from the perspectives of institutions and audiences:
Cons for institutions:
- Loss of revenue from lost sales/rentals of legitimate copies
- Difficulty in enforcing copyright in the digital world
- Threat to traditional business models of production and distribution
Pros for audiences:
- Increased access to films for free or low cost
- Ability to sample films before purchasing
- Convenience of digital copies that can be accessed anywhere
However, piracy also poses challenges for the long-term sustainability of the creative industries. Overall, there are reasonable arguments on both sides of this complex issue.
Social Commerce - is the next big thing. Supercharged word-of-mouth makes
'the conversation around content king'.
The lure of social commerce is rapidly attracting more and varied competitors.
10 point summary.
By Antony Hing
Social Media in the Confectionery IndustryPete Healy
How the confectionery industry can use social media marketing for profitable growth. Presented at the 65th annual PMCA Production Conference in Lancaster, PA, April 2011, and published in the June 2011 issue of The Manufacturing Confectioner magazine.
Here are the slides I used for my "Transmedia" presentation I made to the Dallas Video Festival on Sept 25, 2011. The notes field include lots of URLs for additional content.
This document discusses 10 questions that will define the future of television. It outlines how television is facing major challenges and disruption from new technologies and digital media. Key points include television transitioning from traditional channels and networks to on-demand streaming accessed across multiple screens anytime; content being created and shared by both professional producers and users; and television evolving from a passive viewing experience to an interactive and immersive one.
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.
This document discusses the rise of fan-powered media and how audiences are now actively engaged with the content they consume. It argues we have entered an "Era of Fan-centric Media" where fans have the ability and desire to deeply engage with each other around TV shows and popular franchises through social networks and user-generated content. This level of engagement has transformed passive audiences into active communities that help drive discussion and shape narratives through unofficial sites and derivative works. It uses the example of The Walking Dead TV show to illustrate how fans can engage across official and unofficial sites to immerse themselves more fully in the story world.
THE STORY CUBE. Understanding the many dimensions of today's storytelling.Nick DeMartino
Here's the slides from a talk I gave to my friend Anna Marie Piersimoni's class at California State University, Northridge. The "cube" includes the three-legged stool, the traditional narrative dimensions, and those that are new in the digital world.
Getting Started in Transmedia Storytelling - 2nd EditionRobert Pratten
This is the second edition of Robert Pratten's massively popular Getting Started in Transmedia Storytelling. It's a practical guide to developing cross-platform and pervasive entertainment written by a thought-leader and early practitioner. Whether you're a seasoned pro or a complete newbie, this book is filled with tips and insights gained from years of work in multi-platform interactive storytelling.
Buy a hardcopy
https://www.createspace.com/5655357
From Amazon
http://www.amazon.com/Getting-Started-Transmedia-Storytelling-Practical/dp/1515339165/
On Kindle
http://www.amazon.com/Getting-Started-Transmedia-Storytelling-2nd-ebook/dp/B0145T6I6Q/
The famous Harry Potter sorting hat. It’s a fitting metaphor for this presentation, as I sort through the emerging history of transmedia storytelling. I will start by discussing my own background, and sharing my current obsessions for certain stories, explore definitions, precursors, breakthroughs, current examples and resources.
Transmedia storytelling involves telling a story across multiple media platforms. It allows for a more complete experience as different parts of the larger story are told through different media like books, films, television shows and video games. The full story can only be understood by experiencing it across all of its parts. Effective transmedia engages audiences through participatory culture by encouraging them to share, discuss and create new content that expands the narrative in a non-linear way across different digital platforms like social media, blogs and wikis. It aims to build emotional connections between audiences and brands or franchises.
Transient Identiti Socialization Of MarketingIdentitiLab
The document discusses how technology and social shifts have led to the socialization of marketing. Traditional purchase funnels have been disrupted as consumers now have more power and influence over brands. Marketing has shifted from a paradigm of dictation to dialogue, with technology enabling deeper brand awareness through consumer conversations across many touchpoints. Successful brands will participate in market conversations across social networks and platforms to build communities and loyalty.
Social Storytelling - The Magic (@Greenhouse Project @CreativeNiche)Yvette Pasman
Containing:
- Storytelling: why we love it
- Numbers of growth of social networks and the new rules of engagement
- Case stories: Dell, Ford Fiesta, Pepsi Refresh Project, Levi's Go Forth, Akzo Nobel Let's Colour, Yellow Pages Hidden Pizza, Toms Shoes & Eyewear
Please DO share your thoughts:
www.indegarage.nl
@tweedejansteen
Nos encontramos en medio de un movimiento sísmico donde la fragmentación de audiencias ha cambiado las reglas del juego. El inconformismo de los consumidores de ve reflejado en el estudio de Arena (Grupo Havas) donde el 75% de los consumidores consideran que las marcas no les aporta nada.
Hay un claro deseo de cambiar de marca constantemente. Las marcas deben alcanzar más valor en su comunicación y inversión en Marketing para ser competitivo y relevantes.
Vivimos en un mundo orgánico donde la conexión entre personas ha hecho que nuestro mundo sea más plano, pequeño. Por eso la comunicación se ha reestructurado para conseguir conexiones relevantes nutridas por el Data y el Contenido.
Bienvenido a este nuevo mundo y la visión de como enfocar el marketing desde una perspectiva orgánica.
This document provides an agenda and overview for a masterclass on tourism and diplomacy. The agenda includes discussions on the attention economy, a history of social media, social media storytelling, and how to use platforms like Facebook, YouTube, LinkedIn and Twitter for research, academia, and analyzing social media accounts like @DenmarkinUK. Tools for social media analysis like Blue Nod, Followerwonk, Buzzsumo and Nuzzle are also mentioned.
Lorenzo von Matterhorn and the three Levels of Transmedia StorytellingChristian Riedel
A Presentation I gave at the brand academy seminar at the Good-School Hamburg ( a school for marketing professionals). This presentation has been created for educational use only. Pictures of TV-Shows are meant to promote these shows: Watch them!
Building Intelligence: How Data + Storytelling is the Ultimate Act of CreationGunther Sonnenfeld
Innovative methods and use cases for developing story-driven platforms that comprise various uses of data, content and media. Considerations for revenue opportunities and scale. Heavy emphasis on co-creation with audiences and stakeholders, and how we can enable people to participate in meaningful ways. Real tools, real methods, real examples!
How effective is the combination of your mainwlaufs
The document discusses how brand identity was created for a documentary production through the use of social media, posters, and the documentary and radio advertisements. A simple font and the word "WIRED" was used across all materials to appeal to the target audience without revealing too much. Throughout, the goal was to promote an identity of being cool, urban, and stylish around the serious topic of new technology. This identity was conveyed through the vibrant poster showing technology's positive cognitive impacts on teens while also highlighting balanced views. Interviews in the documentary similarly challenged traditions while optimistically discussing technology. The radio ad's sound achieved this identity but a younger narrator may have been more effective.
Dynamic Publishing, Transmedia & The Construct of Good_gs.pptxGunther Sonnenfeld
This keynote presentation by Gunther Sonnenfeld discusses how people now control brands through social media, and how this has transformed the relationship between consumers, content, technology and each other. The document outlines how agencies must become curators, adapting to shifting consumer behaviors and bridging gaps between paid, owned and earned media. It emphasizes the importance of storytelling across multiple platforms through an integrated transmedia approach.
David Wesson is an internet media and marketing consultant based in Australia. He has over 15 years of experience in the entertainment and advertising industries in Europe and Australia. His blog at http://digient.blogspot.com/ focuses on digital entertainment topics. He can be contacted by email, phone, or by subscribing to his blog.
The document discusses how the creation of the web has changed audience behavior and interactions with media. It explores the rise of social media and user-generated content, noting that audiences now participate more actively online as "prosumers" who both consume and produce media. This has resulted in a blurred line between audiences and producers. The document also examines concepts like citizen journalism, fake news, and debates different perspectives on the impact of these changes.
Over a billion and a half people signed up for Facebook. This site the most used site for people when using the Internet. People are not watching TV so much anymore - they using Facebook, Youtube and Netflix and number of popular web sites.
Some people denote their time working for others online. What drives people to write an article on Wikipedia? They don´t get paid. Companies are enlisting people to help with innovations and sites such as Galaxy Zoo ask people to help identifying images. And why do people have to film themselves singing when they cannot sing and post the video on Youtube?
In this lecture we talk about how people are using the web to interact in new ways, and doing stuff.
Transmedia is a buzz word that’s been in use for a while now, and the idea behind it goes back many decades. But from Hollywood to Madison Avenue, we’re seeing more and more content creators adopting transmedia practices: creating stories, characters or themes that arc over various platforms, providing consumers with multiple entry points. For marketers, transmedia presents new opportunities for creatively engaging audiences—with the potential to enhance brand mythology and create more brand evangelists.
This report takes a look at why this trend is bubbling up right now, how it’s significant for marketers and where it’s going. It includes a half-dozen case studies, insights from transmedia experts, a guide to finding more information (from events to podcasts to books and video clips) and a timeline charting some milestones in transmedia’s evolution.
You can download the full report here: http://www.jwtintelligence.com/trendletters2/
The document discusses Generation C and their characteristics and behaviors on social media. Generation C enjoys creating and sharing content, forming active online communities, and engaging in cultural discussions on social media. They desire control over their own lives and careers in creative industries with flexible structures. The document provides tips for brands to engage Generation C, such as fostering their creativity, treating real and virtual worlds seamlessly, and focusing on sparking cultural conversations rather than one-way messaging.
How the Metaverse is Changing Reality ForeverEmmaChiu4
The document discusses how the metaverse is emerging as a unified digital world where people increasingly socialize, collaborate, and create in virtual spaces. As big tech and gaming companies race to define the metaverse, the users who populate these worlds will ultimately shape them. The metaverse could redefine creativity for younger generations and enable more collaborative idea generation. A panel at SXSW will examine what the metaverse is, how technology is unleashing new creative potential, and whether the metaverse can foster inclusive, democratized digital communities.
The document summarizes key lessons from the 2012 Cannes Lions advertising festival: Social media usage is now deeply embedded in people's lives. Technology is evolving faster than ever, significantly impacting the advertising industry. Data has become essential, not just desirable. Creatives need to embrace new approaches like "art and code" rather than just "art and copy," prioritizing engagement over consumption. Great content must be at the center of social strategies. The advertising business is being transformed by these rapid changes in consumer behavior and technology.
Mind Blowing Lessons from the Cannes Lions 2012Karim Syed
The document summarizes key lessons from the 2012 Cannes Lions advertising festival:
1) Social media usage is now deeply embedded in people's lives and technology is evolving faster than ever, significantly impacting the advertising business.
2) Data is no longer a nice-to-have but essential, and the focus is shifting from "art and copy" to "art and code".
3) Engagement has become more important than consumption, and great content is central to success in the social media space.
Teaching Old Brands New Tricks with Transmedia Storytelling (1/2) Henri Weijo
Henri Weijo (PhD candidate at Aalto University School of Economics, Department of Marketing) explores transmedia storytelling, showing how many of its practices have already become commonplace in today’s marketing. However, at the end of the presentation I outline ideas on where brands should be going next to really leverage transmedia. Part 1 / 2.
Modern Radio Frequency Access Control Systems: The Key to Efficiency and SafetyAITIX LLC
Today's fast-paced environment worries companies of all sizes about efficiency and security. Businesses are constantly looking for new and better solutions to solve their problems, whether it's data security or facility access. RFID for access control technologies have revolutionized this.
The Unbelievable Tale of Dwayne Johnson Kidnapping: A Riveting Sagagreendigital
Introduction
The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
Follow us on: Pinterest
The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
Barbie Movie Review - The Astras.pdffffftheastras43
Barbie Movie Review has gotten brilliant surveys for its fun and creative story. Coordinated by Greta Gerwig, it stars Margot Robbie as Barbie and Ryan Gosling as Insight. Critics adore its perky humor, dynamic visuals, and intelligent take on the notorious doll's world. It's lauded for being engaging for both kids and grown-ups. The Astras profoundly prescribes observing the Barbie Review for a delightful and colorful cinematic involvement.https://theastras.com/hca-member-gradebooks/hca-gradebook-barbie/
Young Tom Selleck: A Journey Through His Early Years and Rise to Stardomgreendigital
Introduction
When one thinks of Hollywood legends, Tom Selleck is a name that comes to mind. Known for his charming smile, rugged good looks. and the iconic mustache that has become synonymous with his persona. Tom Selleck has had a prolific career spanning decades. But, the journey of young Tom Selleck, from his early years to becoming a household name. is a story filled with determination, talent, and a touch of luck. This article delves into young Tom Selleck's life, background, early struggles. and pivotal moments that led to his rise in Hollywood.
Follow us on: Pinterest
Early Life and Background
Family Roots and Childhood
Thomas William Selleck was born in Detroit, Michigan, on January 29, 1945. He was the second of four children in a close-knit family. His father, Robert Dean Selleck, was a real estate investor and executive. while his mother, Martha Selleck, was a homemaker. The Selleck family relocated to Sherman Oaks, California. when Tom was a child, setting the stage for his future in the entertainment industry.
Education and Early Interests
Growing up, young Tom Selleck was an active and athletic child. He attended Grant High School in Van Nuys, California. where he excelled in sports, particularly basketball. His tall and athletic build made him a standout player, and he earned a basketball scholarship to the University of Southern California (U.S.C.). While at U.S.C., Selleck studied business administration. but his interests shifted toward acting.
Discovery of Acting Passion
Tom Selleck's journey into acting was serendipitous. During his time at U.S.C., a drama coach encouraged him to try acting. This nudge led him to join the Hills Playhouse, where he began honing his craft. Transitioning from an aspiring athlete to an actor took time. but young Tom Selleck became drawn to the performance world.
Early Career Struggles
Breaking Into the Industry
The path to stardom was a challenging one for young Tom Selleck. Like many aspiring actors, he faced many rejections and struggled to find steady work. A series of minor roles and guest appearances on television shows marked his early career. In 1965, he debuted on the syndicated show "The Dating Game." which gave him some exposure but did not lead to immediate success.
The Commercial Breakthrough
During the late 1960s and early 1970s, Selleck began appearing in television commercials. His rugged good looks and charismatic presence made him a popular brand choice. He starred in advertisements for Pepsi-Cola, Revlon, and Close-Up toothpaste. These commercials provided financial stability and helped him gain visibility in the industry.
Struggling Actor in Hollywood
Despite his success in commercials. breaking into large acting roles remained a challenge for young Tom Selleck. He auditioned and took on small parts in T.V. shows and movies. Some of his early television appearances included roles in popular series like Lancer, The F.B.I., and Bracken's World. But, it would take a
Orpah Winfrey Dwayne Johnson: Titans of Influence and Inspirationgreendigital
Introduction
In the realm of entertainment, few names resonate as Orpah Winfrey Dwayne Johnson. Both figures have carved unique paths in the industry. achieving unparalleled success and becoming iconic symbols of perseverance, resilience, and inspiration. This article delves into the lives, careers. and enduring legacies of Orpah Winfrey Dwayne Johnson. exploring how their journeys intersect and what we can learn from their remarkable stories.
Follow us on: Pinterest
Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
Dwayne Johnson: From Wrestling Royalty to Hollywood Superstar
Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
Before entering the world of professional wrestling. Johnson had aspirations of becoming a professional football player. He played college football at the University of Miami. where he was part of a national championship team. But, injuries curtailed his football career, leading him to follow in his family's footsteps and enter the wrestling ring.
Career Milestones
Orpah Winfrey: The Queen of All Media
Winfrey's career breakthrough came in 1986 when she launched "The Oprah Winfrey Show." The show became a cultural phenomenon. drawing millions of viewers daily and earning many awards. Winfrey's empathetic and candid interviewing style resonated with audiences. helping her tackle diverse and often challenging topics.
Beyond her talk show, Winfrey expanded her empire to include the creation of Harpo Productions. a multimedia production company. She also launched "O, The Oprah Magazine" and OWN: Oprah Winfrey Network, further solidifying her status as a media mogul.
Dwayne Johnson: From The Ring to The Big Screen
Dwayne Johnson's wrestling career took off in the late 1990s. when he became one of the most charismatic and popular figures in WWE. His larger-than-life persona and catchphrases endeared him to fans. making him a household name. But, Johnson had ambitions beyond the wrestling ring.
In the early 20
Matt Rife Cancels Shows Due to Health Concerns, Reschedules Tour Dates.pdfAzura Everhart
Matt Rife's comedy tour took an unexpected turn. He had to cancel his Bloomington show due to a last-minute medical emergency. Fans in Chicago will also have to wait a bit longer for their laughs, as his shows there are postponed. Rife apologized and assured fans he'd be back on stage soon.
https://www.theurbancrews.com/celeb/matt-rife-cancels-bloomington-show/
Meet Dinah Mattingly – Larry Bird’s Partner in Life and Loveget joys
Get an intimate look at Dinah Mattingly’s life alongside NBA icon Larry Bird. From their humble beginnings to their life today, discover the love and partnership that have defined their relationship.
240529_Teleprotection Global Market Report 2024.pdfMadhura TBRC
The teleprotection market size has grown
exponentially in recent years. It will grow from
$21.92 billion in 2023 to $28.11 billion in 2024 at a
compound annual growth rate (CAGR) of 28.2%. The
teleprotection market size is expected to see
exponential growth in the next few years. It will grow
to $70.77 billion in 2028 at a compound annual
growth rate (CAGR) of 26.0%.
At Digidev, we are working to be the leader in interactive streaming platforms of choice by smart device users worldwide.
Our goal is to become the ultimate distribution service of entertainment content. The Digidev application will offer the next generation television highway for users to discover and engage in a variety of content. While also providing a fresh and
innovative approach towards advertainment with vast revenue opportunities. Designed and developed by Joe Q. Bretz
_7 OTT App Builders to Support the Development of Your Video Applications_.pdfMega P
Due to their ability to produce engaging content more quickly, over-the-top (OTT) app builders have made the process of creating video applications more accessible. The invitation to explore these platforms emphasizes how over-the-top (OTT) applications hold the potential to transform digital entertainment.
Experience the thrill of Progressive Puzzle Adventures, like Scavenger Hunt Games and Escape Room Activities combined Solve Treasure Hunt Puzzles online.
2. 3-LEGGED STOOL:
More than ever before, the form of our stories is impacted, indeed, defined by more than just the traditional concerns
of story, character, structure, etc. -- story is impacted by the technology through which it is consumed, and the
business model by which consumers access the content.
3. 3-LEGGED STOOL:
More than ever before, the form of our stories is impacted, indeed, defined by more than just the traditional concerns
of story, character, structure, etc. -- story is impacted by the technology through which it is consumed, and the
business model by which consumers access the content.
4. 3-LEGGED STOOL:
More than ever before, the form of our stories is impacted, indeed, defined by more than just the traditional concerns
of story, character, structure, etc. -- story is impacted by the technology through which it is consumed, and the
business model by which consumers access the content.
5. CONTENT
Tale, story, novel, play,
motion picture, comic,
serial, radio play,
television show,
videogame, interactive
story, transmedia story…
If I ask you to name some different forms of story, we see before very long that the form of the story has
emerged as a result of some innovation in technology, and just as importantly, the financial viability of the
means of production and distribution. This is the root of Marshall McLuhan’s deceptively simple phrase, THE
MEDIUM IS THE MESSAGE -- in other words, the content cannot be extracted from the medium (e.g.
Technology) by which we experience it.
6. TECHNOLOGIES
Book, magazine, newspaper,
telegraph, telephone, sound
recording, cinema, radio,TV,
computer, game console, digital
network, Internet, cell phone,
social media, apps….
As we progress, it seems to get harder and harder to distinguish the actual technology from its application, or
specific business use-case. The movies, for instance, are a cluster of technologies applied in a specific
business use-case that evolved over our history. McLuhan used the term ‘rear-view mirror’ in describing a
typical early strategy for a new media technology -- e.g., that it mimics an earlier form. TV used radio and
cinema at first, before unique story forms evolved. YouTube encompasses many technologies and many
creative formats, in addition to spawning its own. Ditto with social media.
7. BUSINESS MODELS
Patronage, philanthropy, work-
for-hire, direct sale,
subscription, advertising, loss-
leader, cross-subsidized, e-
commerce, in-app sale, image
marketing, B2B, white label…
A business model describes how your company creates, delivers and captures value.We often take the business model for granted --
movies require payment, either at the box office or via advertising -- until they don’t, with the advent of p2p file-sharing protocols.
Early stage businesses, especially tech startups, are unique.As Steve Blank puts it:“A start-up is an organization in search of a
repeatable and scalable business model.
8. 3-LEGGED STOOL:
Content
Technology
Business
More than ever before, the form of our stories is impacted, indeed, defined by more than just the traditional concerns
of story, character, structure, etc. -- story is impacted by the technology through which it is consumed, and the
business model by which consumers access the content.
9. ME?
Movie Geek
Journalist
Filmmaker
Marketer
Strategist
What qualifies me to give this talk?
I am a movie geek.
I am an ex-journalist, filmmaker and marketer.
And I spent 20 years running digital programs and initiatives at the American Film Institute, some of which are
listed on the next slide.
To learn more about my career, check out my website at http://www.nickdemartino.net
10. 20YEARS @ AFI:
Computer Media Salons
EnhancedTV Workshop
Digital Content Lab
DigiFest
I discuss a few highlights of my years at AFI and the relationships I developed with innovators at the
intersection of Hollywood and Silicon Valley. I discuss a few highlights of the training-based programs
and the showcase programs, leading into our signature approach: collaborative prototype
development around content.
To learn more about my career, check out my website at http://www.nickdemartino.net
11. WHAT I DO NOW:
Strategy for the
Digital Era
In 2010 I launched a consulting business to help companies navigate the digital era. Most of my work
is in content and distribution.
15. STORIES TODAY
* Across multiple media
* Each contributing to story
* Multiple entry points into story
The term transmedia storytelling is, by all accounts, a coinage from Henry Jenkins, a much-published academic from
MIT, now on the faculty at the University of Southern California. Henry is a good source for info, particularly his
courseware, which is published on his blog: http://www.henryjenkins.org/
The specific article is from MIT Technology Review, "Transmedia Storytelling.”
Jenkins, Henry (2006). Convergence Culture: Where Old and New Media Collide. New York: New York University Press.
ISBN 9780814742815. Jenkins, Henry (2006). Convergence Culture: Where Old and New Media Collide. New York: New
York University Press. ISBN 9780814742815. Jenkins, Henry (2006). Convergence Culture: Where Old and New Media
Collide. New York: New York University Press. ISBN 9780814742815.
18. EXAMPLE?
Certainly Star Wars is transmedia, with many different media and formats. Though, there are those in the field who
prefer to think of Star Wars as the first major storytelling FRANCHISE, not really transmedia. What is the distinction?
Whether new elements to the story are added in every platform, and therefore make the experience of all platforms
necessary for a full experience of the work.
19. OTHER TERMS
Franchise
Multi-platform; cross-platform
ARG
Interactive media
Multimedia
Connected entertainment
These are related words describing various story forms. Some would say that none is as complete as “transmedia.”
Others say, to hell with the language wars. Let’s get to storytelling! (Note: ARG=alternate reality game)
20. Is It Really Transmedia
Storytelling?
Are there action
figures?
Is it a single
story or multiple
stories
Is it on multiple
media
platforms?
SINGLE
MULTIPLE
YES
NO
Are the pieces of
story content
unique or
identical?
IDENTICAL
UNIQUE
YES
NO
Is it really a
story, or is it a
story universe? STORY
UNIVERSE
STORY
C'mon, is it
*really* a story,
or is it a theme?
STORY
THEME
Is it an
Alternate
Reality Game?
NO
YES
Are there
casual games?
Is the story just
a light narrative
wrapper?
NO
YES
YES
NO
Do the content
fragments link
to each other?
NO
YES
It's not
Transmedia!
It's not
Transmedia
Storytelling, it's
just a crummy
Entertainment
Franchise.
It's not
Transmedia
Storytelling,
it's integrated
marketing.
Congratulations!
You're a
Transmedia
Storyteller!
It's not
Transmedia
Storytelling,
it's an
adaptation.
Which is more
important when
deciding how content
will be delivered?
WHAT'S MOST ORGANIC
TO THE STORY
WHAT'S MOST EFFECTIVE
TO REACH YOUR TARGET
AUDIENCE
Was the story
transmedia
from inception?
NO
YES
Do you own the
IP?
NO
YES
START
2011 Steve Peters (www.about.me/stevepeters)
Are the pieces of
content linked and
in narrative sync
with each other?
NO
YES
Steve Peters (@vpisteve) has created a very engaging (and amusing) info graphic “Is it Really Transmedia Storytelling?”
You can download here from Scribd:
http://www.scribd.com/doc/59897583/Is-It-Really-Transmedia
21. ASPECTS
Not every example I’m going to cite goes from live to the web and back again, which is the topic of
our panel. But I thought I might set up a key idea here, and that is, that properties that people are
calling transmedia today have a lot of different aspects. I’m going to whip through many different
examples from our history in order to discuss some of these aspects, and wind up with a deeper dive
into a few from the recent past.
22. PERFORMANCE
1981:TAMARA. Interactive Theatre
Tamara was a theatrical event launched in Toronto in which the audience moved into different rooms
and interacted with the actors. The story would unfold differently, depending upon your journey and
what happened in each room. The show ran for many years in Los Angeles and New York, and was
revived in Toronto. This is interactive, but not really multi-platform, though a CD-ROM was
attempted.
23. INTERACTIVITY
1990: Hyperland
BBC & Douglas Adams
Douglas Adams, the creator of A HITCHHICKERS GUIDE TO THE UNIVERSE built this work with the BBC at the dawn of the
interactive media age in order to explain and explore hyper-media. It could be said to be multi-platform because the
links took the user into different environments and domains. You can tell that the ideas were ahead of the technology
by looking at the clunky fonts.
24. IMMERSION
1992: MYST from Cyan & Broderbund
MYST was a ground-breaking game series on CD-ROM back in the 90’s, which remained the highest grossing
title until the SIMS overtook it. Unlike the classic “videogame” format, which were usually shooter or role-
playing games, MYST was a journey of discovery in which users proceeded into environments and worlds by
finding clues and activating elements of the system. Again, not really multi-platform, but a new way to tell a
story. MYST and its sequels are now available in the iTunes store in both a free and $4.99 version.
25. MULTI(PLATFORM)
1992: Bram Stoker’s DRACULA
Game based on Coppola’s Film
Francis Ford Coppola created a successful film adaptation of the Bram Stoker novel about the original vampire
starring Gary Oldman, and Sony released a game version that utilized footage shot on the set of the film,
which nudges into the terrain of multi-platform. We were excited to show it at the time because of the high
profile of the director, who created iconic films like THE GODFATHER trilogy.
26. MYSTERY… PUZZLE
1995: In the First Degree
Interactive CD-ROM from Broderbund
Another CD-ROM title from Broderbund was created by my friend Haney Armstrong, a fllmmaker who came up
with this extension of the traditional police procedural story by allowing the user to interrogate people.
27. GAMEFIED
2002: Push, Nevada: ABC & LivePlanet
Play along with the mystery to win $$
TV interactivity is a whole topic in and of itself. I included PUSH NEVADA in this presentation because it did
represent a breakthrough. Clues were peppered throughout the show and the website that allowed users to
amass points leading to a winner. I think I remember that some clues involved mobile calling as well, Even
though the show was not popular enough to be renewed, it was an early example of multi-platform
enrichment of a primary story.
28. COMPLEXITY
1995: Johnny Mnemonic. CD-ROM from Sony Imagesoft
This William Gibson classic was made into a film with Keanu Reeves, not well reviewed, but significant because
Sony released a CD-ROM game simultaneously which allowed gameplay in a movie-like setting based upon
the same story. The casts were different.
29. EMERGENT
2003: Battlestar Galactica.AFI team: Schematic, Syfy, others
When the Sci-Fi Channel wanted to bring back the classic Battlestar Gallactica, representatives of the company,
as well as Universal’s game division, came into the AFI’s Digital Content Lab to create a multi-dimensional
viewing experience. The user interface, created by Schematic’s Dale Herigstad, allowed seamless movement by
the user in and out of the primary story (TV), a first-person spaceship flying experience (game), and deep data
about the ship, the characters, and the backstory, which also included clues. This was not the version
launched at the time of the show, but inspired lots of others.
30. GREATEST HITS
In this section of the talk I whip through slides of what one might call the modern canon of transmedia
examples, expecially those originating on television, where I spent a lot of my time in development work.
31. HEROES
Ditto with HEROES, which launched its 360 experience, later renamed EVOLUTIONS. Producer Jesse Alexander worked
closely with the TV series creative team.
32. LOST
The Emmy went to the LOST EXPERIENCE, an alternative reality game from ABC and Hi-ReS, a design and experience
company. The TV Show’s millions of fans could deepen their experience of the story world via this comprehensive site.
33. TRUTH ABOUT MARIKA
My mind was blown by this Swedish alternative reality game from Company P, headed by Christopher Sandberg. They
used TV, newspapers, the web, live events and kind of took over the whole country for a few weeks. The premise was a
fake event, but it was treated as real, and people engaged with the story in a sort of ambiguous way, not knowing for
sure what was real, what was fake, what was conspiracy, etc. Such a fictional trope is often part of ARG work, and many
would date it back to Orson Welles and the Mercury Theatre’s radio adaptation of H.G.Welles’ WAR OF THE WORLDS in
the 30’s.
34. I LOVE BEES
42 Entertainment produced an ARG called I LOVE BEES to support the release of Microsoft’s HALO game.
35. WHY SO SERIOUS?
42 Entertainment created this multi-platform alternative reality game that invited players during the period
bridging the release of the two Batman films, especially the much-anticipated DARK KNIGHT from director
Christopher Nolan. Because the Gotham setting and the tone and elements of the franchise are so well known,
the creators could play off of that with newspapers and other media released in sequence that contained clues
and links to fill in the complex world of the films.
36. YEAR ZERO
YEAR ZERO is an ARG that involved fans of the band Nine Inch Nails at concerts by leaving USB drives in
restrooms. Those who activated the files contained therein on a computer got instructions that involved them
in launching the viral game, which depicts a theocratic dystopian future, the subject of the album.
37. CONSPIRACY FOR GOOD
Tim Kring created Heroes and in 2010 launched a global ARG called Conspiracy for Good which was
sponsored by Nokia. There were extensive live events that contained clues that could be retrieved via mobile
augmented reality technologies, as well as many other events. The fictional elements, especially those about
the evil corporation, were quite elaborate. There was a real-world charity in Africa that benefited from the
activities as well.
38. HEAD TRAUMA
This is just one of the properties created by Lance Weiler, whose breakthrough film THE BIG BROADCAST was
itself a precursor to more complex storytelling components being added beyond the film “platform.” 2010: HEAD
TRAUMA/Hope is Missing Lance Weiler/ Seize the Media
39. COLLAPSUS
COLLAPSUS was a documentary film on Dutch television that was expanded into a broader transmedia
experience that integrated game-play, global mapping, animation and other elements. Directed by
Tommy Palotta, who produced Waking Life and A Scanner Darkly. Won the best interactive film award
at the SXSW festival in 2011. From Submarine and VPRO.
40. PLAYING ON THE WEB
If we are going to discuss going from “live” to the web and back again, it might be worth examining some
examples of trends in the presentation of content on the web.
41. TAKE THIS LOLLIPOP
Interactive Live Facebook Connect Experience
Take This Lollipop is a cinematic website created in HTML 5 that requires users to launch Facebook
Connect and authorize the use of content in the account, which is integrated into a creepy, serial killer
type short film. http://www.takethislollipop.com/
42.
43.
44.
45. TAKE THIS LOLLIPOP
The cinematic experience of “Lolllipop” is startling because it embeds images, maps, names and facts
extracted from your Facebook account into the movie seemlessly.
46. ARCADE FIRE
LEVERAGES HTML 5VIDEO
The Wilderness Downtown. http://thewildernessdowntown.com/ : Indie Rock Band Arcade Fire, working with
filmmaker Chris Milk, released a song “We Used to Wait” produced with HTML5. Users enter the zip code of the
place they lived as a kid, and the video incorporates street scenes grabbed via Google Map Street View feature.
Milk has a slew of experimental video/web projects on his site, including the 2012 FWA Best website (voted by
fans), another collaboration with a band, this time Danger Mouse. http://portfolio.chrismilk.com/
47. MISSION IMPOSSIBLE
Tommy Pallotta and other collaborators created a game to support the release Mission Impossible:Ghost
Protocol, requiring a Facebook Connect log-on. http://cobalt.missionimpossible.com/
49. 3 DREAMS OF BLACK
WebGL/Chrome Project by Chris Milk & Aaron Koblin
http://www.ro.me/?id=86057 is another Chris Milk project using Google Chrome’s browser, this time
leveraging the power of Web GL technologies.
50. 3 DREAMS OF BLACK
Users can generate their own “dreams” by drawing on the landscape provided by the site or vote for
their favorites.
51. LEVERAGES HTML 5VIDEO
AIM HIGH is a web series about a teenaged spy. http://www.imdb.com/title/tt1730374/ “Viewers log on via
Facebook” and by giving permission, become part of the story. https://www.facebook.com/AimHighSeries.
52. FAN-BASED
STORYTELLING
Another web format that inspires is fan-produced video, uploaded into a storytelling frame. The innovation
here is the direct address format, with the user speaking to viewers via the webcam ubiquitous on personal
computers, especially laptops.
53. Another web format that inspires is fan-produced video, uploaded into a storytelling frame. The innovation
here is the direct address format, with the user speaking to viewers via the webcam ubiquitous on personal
computers, especially laptops.
54. Digital (Mostly)
Multiplatform (Maybe)
Interactive (Low vs. High)
Social (Shareable)
Media Dense (Video)
Contextual (Story)
FAN-CENTRIC MEDIA
There are a range of factors that help us understand how “fan-centric” your media may be. Of course, it’s all digital media. Sometimes the story plays out on several platforms.
Sometimes there is interactivity -- “Low is liking or clicking” & “High is deep fan engagement. It is shareable across the web. Then there’s the question of density -- video and
gaming are dense. Text is not. Finally, we talk about context, especially the story in which fan engagement occurs.
55. WALKING DEAD
AMC’s
Walking
Dead
is
an
iconic
show,
now
in
its
fi8h
season.
I’d
like
to
use
the
show
as
an
example
of
the
fan’s
journey
of
engagement
in
the
story
world
created
by
a
contemporary
(and
very
popular)
television
series.
Note:
the
image
I’ve
selected
is
not
on
a
TV
set,
but
a
computer
screen.
So
from
the
outset,
the
linear
TV
series
is
now
rouLnely
being
consumed
across
a
variety
of
screens.
And
it’s
digital.
This
is
our
starLng
point
for
fan
engagement.
(For
a
deeper
dive
into
the
markeLng
world
of
Walking
Dead,
check
out
this
panel
from
the
PGA’s
“Produced
by”
Conference
hRp://youtu.be/de5hfc7JSs0
..
My
hypothesis
today
is
the
“Era
of
Fan-‐centric
Media.”
As
the
mobile/social/networked
web
has
become
ubiquitous,
fans
now
have
both
the
means
(and
the
desire)
to
engage
with
each
other
about
the
things
they
are
passionate
about
–
especially
popular
TV
shows.
The
result
is
that
TV
shows
are
essenLally
the
hub
of
a
vast
fan
network
which
enables
massive
sharing
and
content
interconnecLon
across
the
web.
This
is
for
both
official
web
properLes
from
the
TV
show
and
network,
but
much
more
these
days
on
unofficial
sites.
Experts
like
Kris
Longfield
(@fanthropologist
on
TwiRer)
segment
the
audience
by
acLve
vs
inacLve.
There
are
superfans
and
ambassadors,
and
they
tend
to
curate,
collect
and
produce,
depending
upon
where
on
the
spectrum
of
fan
engagement
they
fall.
56. FANS=CONTENT
• Fans have the desire & means to engage others
– Show is hub for vast fan networks
– Shareable and viral across the social graph
– Authorized and unofficial platforms
– Content takes many forms & depth
– User-generated content – deep, deep engagement
– Derivative UGC – the ultimate fandom
• Important lens to view audience - Fanthropology
– Active (10%) vs Inactive (90%) Fans
– Fans / Superfans / Ambassadors
– Curators / Collectors / Producers
– Fan engagement & content is part of the TV experience
My
hypothesis
today
is
the
“Era
of
Fan-‐centric
Media.”
As
the
mobile/social/networked
web
has
become
ubiquitous,
fans
now
have
both
the
means
(and
the
desire)
to
engage
with
each
other
about
the
things
they
are
passionate
about
–
especially
popular
TV
shows.
The
result
is
that
TV
shows
are
essenLally
the
hub
of
a
vast
fan
network
which
enables
massive
sharing
and
content
interconnecLon
across
the
web.
This
is
for
both
official
web
properLes
from
the
TV
show
and
network,
but
much
more
these
days
on
unofficial
sites.
Experts
like
Kris
Longfield
(@fanthropologist
on
TwiRer)
segment
the
audience
by
acLve
vs
inacLve.
There
are
superfans
and
ambassadors,
and
they
tend
to
curate,
collect
and
produce,
depending
upon
where
on
the
spectrum
of
fan
engagement
they
fall.
57. LONELY GIRL 15
The technique began at the dawn of YouTube: Lonely Girl 15 was a very influential early use of YouTube in
which actors portrayed young people’s lives as if they were really opening up to the world via video. Most
people thought these were real people, and responded in kind with video uploads of their own, creating a
tapestry of video storytelling that was quite unique. What has become a standard feature of YouTube was
pioneered by Lonely Girl, and the lessons are being applied by the firm founded by its producers: EQAL.
http://www.eqal.com/
58. BECKINFIELD
Beckinfield (2011) – User submitted videos tell the story of a town
Beckinfield is a new site that creates a story world, e.g., a mythical California town, and a storyline that
comes from the site, but the unfolding of the story is created by users who upload videos to the site
that they have made in characters. The originator is an actor who had been helping fellow actors
upload “audition” type videos to YouTube, and yearned for a way to let actors use their improv skills to
further their careers. The site’s platform company, Theatrix, hopes to license the software to other
content companies who want to leverage their experience. They call it “mass participation television.”
http://www.beckinfield.com/
59. BECKINFIELD
As the site and story forms have matured, Beckinfield has featured more complexly edited pieces,
generated by the site’s creative team. Otherwise, all of the content is in the form of direct address into
the camera, usually webcam-style confessional formats.
60. For USA Network, Theatrics helped create The S#cial Sector, an online edition of PSYCH, showing that the
platform could be used to invite user-generated content into a branded storyworld
61. “Welcome to Sanditon” is the sequel to popular multiplatform webseries ‘Lizzie Bennet’s Diaries’,
both based on Jane Austen novels. Sanditon permits fans to co-create the story based on Austen’s
unfinished novel.
62. AURELIA: is billed as an interactive Steampunk Adventure Starring You. We’ll take a closer look at
the user experience for AURELIA fans. I’ll get back to AURELIA in a moment.
63. Show header
Call to Action
Content window
Social links
Fan response tools
Info about
window
•The header carries the title, subtitle and author. • The content window displays the file -video, blog or image.
•Below the player window is information about that content, and a full suite of social and sharing links.
•Fans can use tools to post responses & can check out the latest calls to action.
65. DON’T FORGET
THEATRE
“Live” content with a live audience is an ancient art form: theatre. Some innovations in interactivity, like
“Tamara” are being leveraged in today’s theatre world, along with the insertion of multi-platform story forms
and web-based extensions.
66. SLEEP NO MORE
2011: Punchdrunk Interactive Production London & NYC
“Sleep No More” is an interactive theatre presentation of Macbeth in which audience members in masks
interact throughout a physical space where the actors unfurl the story. http://sleepnomorenyc.com/
67. Punchdrunk Theatre, a London-based troupe, has experimented with interactive theatre in the past. The
brought “Sleep No More” to NYC in 2011, where it has been selling out almost every show.
68. NO GOOD DEED
2012: FuriousTheatre Company Play & Graphic Novel
Pasadena CA based Furious Theatre Company specializes in edgy productions by emerging playwrights. Furious
commissioned Matt Pelfrey to write the play, which involves a young loser who inadvertently becomes famous for an act
of apparent heroism and wanders into superhero fantasy inspired by the comics he wants to publish. His character--
Hellbound Hero, is the subject of a graphic novel released in conjunction with the show. The show ran for several
weeks in 2012 at LA’s John Anson Ford Theatre. http://www.iamhellbound.com/
69. NO GOOD DEED
2012: FuriousTheatre Company Play & Graphic Novel
Here’s the hero, hell-bound, of course.
70. ACCOMPLICE
The Accomplice is an urban-based exploration game/theatre piece, launched in
NY http://accomplicetheshow.com/details-ny.php and now in Los Angeles
http://www.accomplicetheshow.com/details-hollywood.php
71. THE SEED
The Seed (2012) – Facebook-based “Play” by DavidVarela, U.K.
I just learned about The Seed, a “theatre” project from UK’s David Varela that takes place on Facebook. Here’s
some info from the author’s blog: http://www.davidvarela.com/ and the FB site of the fictional character, an
agronomist, who is the protagonist of the story: https://www.facebook.com/theseed2012
72. HAUNTED
2012: BXX’s HAUNTED
Daniel Knauf (Carnivale)’s online horror/mystery
http://bxxweb.com/ is the site for Daniel Knauf’s beta site for an interactive haunted house story called,
fittingly, “Haunted.” His linear stuff (Carnivale on HBO) was beautiful and plenty weird. This is lower tech, not
so beautiful, but addictive in a strange mesmerizing way.
73. HAUNTED
2012: BXX’s HAUNTED
Daniel Knauf (Carnivale)’s online horror/mystery
Many items are available to help “viewers” navigate the story, including this map of the haunted house from an
early real estate ad.
74. BOOK ‘EM
Authors of books are also edging into multi-platform storytelling and interactivity. Here are a few examples.
75. AN AMERICAN STORY
ETHAN RUSSELL ebook (2012):“It’sYour
History: Help Write It”
Rock photographer and music video director Ethan Russell http://www.ethanrussell.com/index.htmlhas just
published his “illustrated” memoir “An American Story” that features copious photography, videos, and a
companion website that is seamlessly integrated into the narrative. He tells me the iBook version on the iPad is
the best user-experience. It’s also available for the Kindle, Nook, etc. http://itunes.apple.com/us/book/
ethan-russell-american-story/id531762062?mt=11
76. The website allows users to post their own reminiscences of the historical timeline events itemized within
Russell’s nonfiction book. He intends to release these user contributions in subsequent versions of the ebook,
which he titled version 1.0.
78. NEXUS HUMANUS
2011: Nexus Humanus from Michael Grant
Nexus Humanus is a new project, just launched, from Michael Grant, a best-selling children’s book author,
and a transmedia team which has created a web-based story world for his next story, which is focused on a
mind-control organization. http://nexushumanus.com/
79. NEXUS HUMANUS
2011: Nexus Humanus from Michael Grant
The story seems to be a satire of Scientology and its founder, L. Ron Hubbard.
80. BZRK.COM
2011: Nexus Humanus from Michael Grant
...and clicking the button takes you to another Michael Grant multimedia book and web project, this one for
teens called “Go BZRK.”
81. WHAT
TELEVISION
WANTS TO BE
Brands are experimenting with multiplatform storytelling. I dive into a particularly complex example in this
case study.
82. Always
keeping
in
mind,
of
course,
that
the
social
TV
ecosystem
is
growing
in
all
direcLons
and
that
experiments
in
fan
powered
media
will
necessarily
evolve
as
the
tools,
pla`orms,
and
enabling
technologies
come
and
go.
This
is
the
2013
version
of
an
infographic
depicLng
all
of
the
sectors
of
the
social
TV
ecosystem
provided
by
Trendrr
for
AdverLsing
Age.
83. TEN QUESTIONS
• What is a channel?
• What is a remote?
• What is a screen?
• What is an ad?
• How do you watch?
• How do you share?
• Where do you watch?
• How do you create?
• How do you participate?
• What is reality?
I’ve formulated ten questions about the future of TV that can help us examine trends. My thinking has
been aided by a survey of industry leaders shared with me by William Gerhardt and his colleagues at
Cisco. I will be on a panel with him next week at Georgia Tech. http://www.cisco.com/web/about/
ac79/sp/sptl.html
84. WHAT IS A CHANNEL?
• Internet: always on
• Video on-demand:
downloads &
streams
• OTT: websites are
networks
• Time- and place-
shifted
The days are numbered for the channel as a fundamental organizing principle for content. This
concept, and the business rules behind it, was a necessity in order to use the electromagnetic
spectrum efficiently, and it was carried over into cable TV.
85. WHAT IS A REMOTE?
• Keyboard
• Second Screen (touch)
• Gestural interfaces
• Voice command
• Facial recognition
The remote control was a revolutionary device because it allowed users much greater control of
content consumption. But it’s a primitive and often very annoying interface that is being replaced.
86. WHAT IS A SCREEN?
• TV is an application, not a
device
• Screens are everywhere
• Screens get huge
• Screens in our pocket
The invention of the cathode ray tube paralleled the growth of the content and advertising networks
that filled those early screens. Over time, of course, we’ve used screens to display all sorts of content,
to the point where television content is simply another application.
87. WHAT IS AN AD?
• Personalized, targeted
• TheVirtual Self
• Interactive
• T-commerce, M-commerce
• Content as brand, brand as
content
Corporate advertising and sponsorship has been financed much of television, up until the rise of
subscription television. With the rise of the Internet, and its ability to target individuals based upon
data, the form of ads will change again.
88. HOW DOYOU WATCH?
• Watch with friends (real &
virtual)
• Motion capture, telepresence
& holograms
• Interact w/content &
characters
• Viewing becomes persistent &
immersive (transmedia)
TV viewing is sometimes lonely, sometimes social, often simply ambient -- based upon circumstances
within each household. In the future, other factors outside our physical reality will help change the
viewing envirnoment.
89. HOW DOYOU SHARE?
• Social graph integrated at
every level
• Content discovery is social
• Sharing reflected in content
formats
The social web is the web for most people, and with IP connected TVs, second screens, etc., the
conventions of the social web will naturally extend to the TV experience. It’s happening already.
90. WHERE DOYOU WATCH?
• Screens are pervasive
• Vivid portable screens
• Content (TV) follows you
• Cloud storage
• Stop & start all day
Content consumption left the living room a long time ago. We will view anytime, anywhere.
91. HOW DOYOU CREATE?
• UGC as an emergent form
• Faster, better, cheaper tools
• Crowd-sourced production
• Proliferation of outlets
• The rise of the fan/producer
A great story well told, that’s what we want from our media providers, along with information,
education, escape. It was a miracle in the 50s, and it remains so, to my mind. But the advent of
powerful inexpensive production tools and ubiquitous distribution via YouTube has created an
amazing revolution of content production that is competing for eyeballs and redefining what we think
of as Television.
92. HOW DOYOU PARTICIPATE?
• Merger of story forms
(linear, games, distributed)
• Rise of collaborative
narratives
• Integration of big data
• Fan voting for more than
just stars
The audience is becoming used to being in the picture -- certainly as surrogates, in the triumph of
reality and competition formats -- but also directly in terms of interactive forms. Games are a big
factor here. We will see story forms merge, new formats created, greater involvement and immersion.
93. WHAT IS REALITY?
• Multi-sensory experience
• Perfected 3D
• Holographic video
• Olfactory and tactile
• Multiple POVs and camera
angles
McLuhan used the word synesthetic in describing television’s exploitation of multiple senses. We will
see additions to the sensory, particularly spatial elements, that bring increasingly realistic experiences
to life inside the home.
94. WHAT NEXT?
What kind of jobs should your incoming freshman look for in 4 years, or 7 if they go to grad school?
That’s a lifetime. Content creation and storytelling. Transmedia. Software. Data mining. Interface
design. Marketing. Entrepreneurship. Theory. For institutions, the need for rapid prototyping of
curriculum and learning experiences butts heads with traditions (including tenure) which can slow
down change.
95. WISDOM
It’s impossible to do anything
wrong. Because nobody’s done it
before, they haven’t made up the
rules to stop anyone...
Author & Screenwriter Neil Gaiman
I end this talk with these words of wisdom from Neil Gaiman’s recent talk at a
University Commencement.
97. NICK DEMARTINO
• TWITTER:
@nickdemartino
• SLIDESHARE:
www.slideshare.net/
nickdemartino
• EMAIL:
nrdemartino@gmail.com
• WEBSITE:
www.nickdemartino.net
• BLOG (and newsletter):
www.nickdemartino.net/
blog
Please feel free to contact me with questions. I will be posting this presentation on
SlideShare. If you give me your card after the talk, I’ll send it to you, as well. Please
check out my website, and if you like my blog posts, sign up for my newsletter. Much of
the research for this talk can be found on my Delicious site, under either transmedia
tag.