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Telling tales using digital media
- 1. MA in Creative Entrepreneurship – telling tales using digital media University of East Anglia 16 November 2010 © Emreteers 2007 ©kathryn corrick
- 4. Once upon a time… Telling tales using digital media
- 5. Are you sitting comfortably? Then let me take you back to 1999
- 6. In the summer of 1999 I was living in New York
- 7. This was the view from the apartment roof.
- 8. It was a great part of town, and most days I walked past the Angelika – an independent cinema. So one evening I decided to go and see a film, and for reasons that are too far back to remember, but I’d like to think it’s because I’d picked up along the way that it was worth seeing, I went to watch…
- 9. The Blair Witch Project
- 10. Until almost half way through the film (other than jumping out of my seat every now and then) I kept wondering… ‘when will this flip out of hand-held cam-corder mode?’ Of course it didn’t, that was the point…
- 11. I then had to walk home…
- 12. The film was as much about the story it created around itself to get distributed… ‘ A buzz was created on and off line to promote the film via the creation of a myth that the creators had found actual footage of an unexplainable phenomenon left by a missing group of campers. The creators themselves seeded this myth by appearing on Pierson show "Split Screen" with 8 minutes of footage they claimed was found in the woods. Pierson encouraged indie aficionados to debate the truth of the Blair Witch on his web site. When The Blair Witch Project website went live they further spread the disinformation. The film was introduced as Sundance during midnight screening, where industry and Hollywood elite were treated with same guerrila/fandom strategy, "flyering" Sundance with "missing" leaflets .’ http ://tbwp.freeservers.com/webring.html http://www.blairwitch.com/mythology.htm
- 14. This technique has been used to promote a number of films since. Dan Hon’s take on this form of storytelling (augmented reality) is worth watching: http://www.youtube.com/watch?v=JhqWyhMGRLg
- 15. This concept was translated from film marketing to advertising Video - http://www.campfirenyc.com/archive/2006/10/10/audi-the-art-of-the-heist/
- 16. It’s also been translated to TV For example Heroes and Lost
- 17. Story - Conspiracy for Good http://www.conspiracyforgood.com/about
- 21. But what excites me? The simpler ways to tell stories…
- 22. The Diary of Samuel Pepys – retelling history http://www.pepysdiary.com/ http://twitter.com/#!/samuelpepys
- 23. Aleks Krotoski’s retelling the first 370 words of Orwell’s 1984 through photography. One word per day. http://www.flickr.com/photos/toastkid/sets/72157623154565238 /
- 24. Using Flickr Galleries Placing photographs from different photographers in a different order to tell a visual story. http://www.flickr.com/photos/98389526@N00/galleries/72157623481905092/
- 25. The Archers’ use of Twitter http://twitter.com/#!/eddie_grundy
- 26. Twitter tales - @Konnolsky http://twitter.com/#!/Konnolsky http://www.disqus.com/konnolsky/ ‘ Smolensk butcher. I run shop with assistant Yuri. Married to Irina (3 sons). Pic: Smolensk Nuclear Power Station’
- 27. Alice & Kev – homeless in Sims 3 Telling a story within a game. http://aliceandkev.wordpress.com/ http://www.facebook.com/pages/Alice-and-Kev/220786325643 http://twitter.com/#!/aliceandkev
- 28. Comics 2.0 Adding your own words to pictures. http://www.nevermindthebullets.com/strip.html#1-1 Create your own - http://www.nevermindthebullets.com/createNemesis.html
- 29. The potential for location and augmenting reality through mobile phone apps – adding layers of information to our surroundings Museum of London: street view, iPhone app Virtual Graffiti – spray walls, passers by with the app can see your scribbles Also consider: FourSquare, Gowalla, Facebook Places
- 30. Bus Tops – using new spaces http://bus-tops.com/
- 31. Thinking about sound in 3D Papa Sangre – video game without video http://www.papasangre.com/ - iPhone 4, out soon You are lost, deep in the darkness of the land of the dead. Your eyes are useless to you here — but your ears are filled with sound. And what is it you can hear … ?
Editor's Notes
- Released in US - July 14, 1999 Production Budget - $35,000 Total US Gross - $140,539,099 Prints and Advertising Budget - $6,500,000 Other films using similar techniques: A.I. (Artificial Intelligence) – Warner Bros’ created an ARG called ‘The Beast’ See Dan Hon’s talk for TEDx - http://www.youtube.com/watch?v=JhqWyhMGRLg Similar techniques used for the film A.I. where Warner Bros’ created a ARG called the Beast. See: Worldwide Gross - $248,300,000 A buzz was created on and off line to promote the film via the creation of a myth that the creators had found actual footage of an unexplainable phenomenon left by a missing group of campers. The creators themselves seeded this myth by appearing on Pierson show "Split Screen" with 8 minutes of footage they claimed was found in the woods. Pierson encouraged indie aficionados to debate the truth of the Blair Witch on his web site. When The Blair Witch Project website went live they further spread the disinformation. The film was introduced as Sundance during midnight screening, where industry and Hollywood elite were treated with same guerrila/fandom strategy, "flyering" Sundance with "missing" leaflets . http://tbwp.freeservers.com/webring.html http://www.blairwitch.com/mythology.htm
- Released in US - July 14, 1999 Production Budget - $35,000 Total US Gross - $140,539,099 Prints and Advertising Budget - $6,500,000 Other films using similar techniques: A.I. (Artificial Intelligence) – Warner Bros’ created an ARG called ‘The Beast’ See Dan Hon’s talk for TEDx - http://www.youtube.com/watch?v=JhqWyhMGRLg Similar techniques used for the film A.I. where Warner Bros’ created a ARG called the Beast. See: Worldwide Gross - $248,300,000 A buzz was created on and off line to promote the film via the creation of a myth that the creators had found actual footage of an unexplainable phenomenon left by a missing group of campers. The creators themselves seeded this myth by appearing on Pierson show "Split Screen" with 8 minutes of footage they claimed was found in the woods. Pierson encouraged indie aficionados to debate the truth of the Blair Witch on his web site. When The Blair Witch Project website went live they further spread the disinformation. The film was introduced as Sundance during midnight screening, where industry and Hollywood elite were treated with same guerrila/fandom strategy, "flyering" Sundance with "missing" leaflets . http://tbwp.freeservers.com/webring.html http://www.blairwitch.com/mythology.htm
- Released in US - July 14, 1999 Production Budget - $35,000 Total US Gross - $140,539,099 Prints and Advertising Budget - $6,500,000 Other films using similar techniques: A.I. (Artificial Intelligence) – Warner Bros’ created an ARG called ‘The Beast’ See Dan Hon’s talk for TEDx - http://www.youtube.com/watch?v=JhqWyhMGRLg Similar techniques used for the film A.I. where Warner Bros’ created a ARG called the Beast. See: Worldwide Gross - $248,300,000 A buzz was created on and off line to promote the film via the creation of a myth that the creators had found actual footage of an unexplainable phenomenon left by a missing group of campers. The creators themselves seeded this myth by appearing on Pierson show "Split Screen" with 8 minutes of footage they claimed was found in the woods. Pierson encouraged indie aficionados to debate the truth of the Blair Witch on his web site. When The Blair Witch Project website went live they further spread the disinformation. The film was introduced as Sundance during midnight screening, where industry and Hollywood elite were treated with same guerrila/fandom strategy, "flyering" Sundance with "missing" leaflets . http://tbwp.freeservers.com/webring.html http://www.blairwitch.com/mythology.htm
- http://www.campfirenyc.com/archive/2006/10/10/audi-the-art-of-the-heist/ Challenge. In the spring of 2005, Audi of America launched the A3, a premium compact which was a new category of car in the North American market. It was loaded with innovations and retailed at a higher-than-expected price. On top of that, other luxury car companies who had attempted this before had failed. Audi faced a significant challenge. Target. Highly affluent ($150K+), stylish, tech-savvy, web-addicted young men (ages 25-34) who are extremely active and mobile Solution. “The Art of the Heist” embraced the target audience’s need of control over their environment and invited them into an immersive 24-hour-a-day alternate reality. This story blurred fact and fiction by concocting a mysterious storyline that involved consumers in the recovery of an A3 stolen from AudiÕs Park Avenue headquarters in New York City. At the heart of the narrative were six new A3s containing coded plans for the largest art heist in history; however, one car contained the key to decrypting the information hidden in all the others, and the mystery surrounding the “heist” unfolded in real time over three months across the country. The Heists final chapter was played out in front of a live audience at the Viceroy Hotel in Los Angeles, where we finally discovered who the real villain was. Media. Over the course of 90 days, consumers engage with the immersive entertainment experience through: Television Newspapers Outdoor Commuter Rail Magazines Websites Blogs Live Events Email Podcasts Films Seeding Online Advertising Direct Mail Radio Wild Postings Voicemail Results. In the first 90 days of the campaign: » 45 million PR impressions » 2 million AudiUSA.com visitors » 500,000 story participants » 10,000 dealer leads » 4,000 test drives » 1,025 cars sold
- http://www.wired.co.uk/wired-magazine/archive/2010/08/features/transmedia-conspiracy-for-good?page=all http://www.conspiracyforgood.com/about