Transmedia Storytelling in Practice: A Case Study of East Los High Transmedia Storytelling: From Conception to Today Since the coinage of the term in an MIT Technology Review (2003) article, Henry Jenkins’ theory of transmedia has been significantly contested and edited by multiple media theorists and scholars. In short, transmedia storytelling is the technique of telling a narrative across multiple platforms. The goal of a transmedia project is to heighten the degree in which audiences participate and interact with the events, characters, and storyworld of a franchise. A transmedia project can include, but is not limited to, the use of movies, books, games, social-media, and graphic novels. These elements work together to make the story more enjoyable and contribute to richer fan-engagement. Jenkins’ best summarizes a definition himself in his 2006 book Convergence Culture: Where Old and New Media Collide; “A transmedia story unfolds across multiple media platforms with each new text making a distinctive and valuable contribution to the whole” (pp. 95-96). To date, transmedia theory and criticism has focused its analysis on the genres of science fiction and fantasy. This is mainly due to the abundance of opportunity to expand and create narrative paths provided by the types of stories popular to the genre. Geoffrey Long, in his master’s thesis, highlights the importance of a rich world in transmedia narratives (2007, 28). Christy Dena also describes the process of unraveling parts of a larger narrative in each medium of a transmedia story (2010, 18). Jenkins illustrates an example of the Wizard of Oz and author L. Frank Baum declaring himself “the royal geographer of Oz” (2009) We see JRR Tolkien’s Lord of the Rings, George Luca... ... middle of paper ... ...what transmedia could do. It continually saw peak viewing on Hulu and The Population Institute named the series “Best TV Show” and “Best Social Media Campaign” (“Population Institute”). After a successful first season, a second has been ordered with another twelve episodes. The question becomes, will East Los High continue to make ground as an innovative and culturally important transmedia story in its second season? If the creative team continues to foster a community within its audience and allows that community to seek more information, there will only be good things from East Los High. Further study will need to be done to see if East Los High was effective outside of just story, as the first transmedia project also specifically designed to promote health and social justice. If so, the East Los High paradigm could become more popular on screens, big and small.
... and substitutes the common traits by the use of unique and innovative elements from a different medium. The style and the pop culture references (especially to video games) which the film is full of helps connect with the target audience, and also show the significant of how fantasy, video games and comic, can stylistically distribute a classical convention to the distinct overall formal system (pp. 56-58, 60-61). In other words, this film that incorporates stylistic elements of comic books and video games to tell a story which is already familiar fodder for movie audiences also makes it especially relevant to an audience demographic raised with video games and manga. Perhaps such prophetic in the integration of stylistic elements from different forms of popular entertainment media into film, can be something which audiences in the future may well come to expect.
When a novel is adapted into a graphic novel, a spectrum of possible interpretations allows for new meanings. Due to the intermedial character of the graphic novel, the translation from text into a graphic novel differs from an adaptation from text to text. Graphic novels have a medium-specific language that consists of a combination of words and images, both following their own rules and conventions. These two channels of the graphic novel, the visual and the textual, enable the author of the adaptation to express her- or himself not only through words but also through images and make them decide what is expressed in images, what is left in words, and what is left out altogether.
Transmedia storytelling takes integral elements of a fiction, dispersing them systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience.
In the words of Michael O’Shaughnessy, ‘narratives, or stories, are a basic way of making sense of our experience’ (1999: 266). As a society and a culture, we use stories to comprehend and share our experiences, typically by constructing them with a beginning, middle and an end. In fact, the order that a narrative is structured will directly impact the way it is understood, particularly across cultures. This idea originated through Claude Lévi-Strauss’s concept of structuralism in anthropology which ‘is concerned with uncovering the common structural principles underlying specific and historically variable cultures and myth’ in pre-industrial societies (Strinati 2003: 85). In terms of media studies, structuralism’s inherent objective is to dig beneath the surface of a media text to identify how the structure of a narrative contributes to it’s meaning. Structuralism encompasses a large range of analytical tools, however, this essay will examine Joseph Campbell’s monomyth and Claude Lévi-Strauss’s theory of binary oppositions. Through analysis of Victor Fleming’s film, The Wizard of Oz (1939), it will be shown that although the monomyth and binary oppositions are useful tools with which to unveil how meaning is generated in this text, structuralism can undermine the audience’s ability to engage with their own interpretations of the film.
Art can be divide in to two different categories, “literacy arts,” art forms that attempt to tell a story, and “fine arts,” traditional works, sculptures, and paintings, as well music and dance. Video games, along with film, are an example of a literacy art form. Video games are increasingly becoming literacy art by telling stories that are equal if not better than those found in most movies. Not just mediocre stories to have them in the games, but compelling stories that drive the player to push forward. Bioshock, a 2007 release, is an example of this increasing importance of stories in video games. Influenced by philosophy and the works of Ayn Rand, the creator where able to create a cautionary tale of man’s individualism and genetic tweaking (VerBruggen).
Most of the fantasy stories that were produced made use of film as a tool to expose the shows. Study proved that the world of film has a various capacity in persuading and changing the perspectives of a viewer. A film functions as an int...
Setia, Roszainora, et al. “Semiotic Analysis of a Media Text The Lord of the Rings: The Fellowship of the Ring.” Canadian Social Science 5.4 (2009): 25-31. Academic Search Complete. Web. 7 November 2013.
In the world of Robert Jordan’s bestselling fantasy series, "The Wheel of Time", the life of the ordinary people has been undergoing some extraordinary changes. The legendary Dragon has been Reborn, and the Last Battle to decide the fate of humanity draws nigh. Meanwhile, outside of this world sit millions of readers, from all reaches of life, waiting anxiously for the next chapter in the story to be told. They debate what has happened, what it means in the context of the story, what it means for the future of the Wheel, as well as how it impacts their lives’. The Wheel of Time is a world where absolute good battles absolute evil, and yet shades of grey cloud the landscape. A world of hope and despair, a world of peace and war. From this world a following has grown. People from different cultures, different languages, and different political ideologies gravitate together forming a cohesive group that helps to spread the word about the work of Robert Jordan. In much the same manner that J.R.R. Tolkien created a myth for the modern ages with his saga "The Lord of the Rings" and George Lucas has done with his "Star Wars" series of movies, so has Robert Jordan entered into the realm of mythology with his work "The Wheel of Time". And this myth, like those which have come recently, and those from antiquity, has created a community of followers around it. They are drawn together initially because of a personal interest, and they stay not only for that interest, but because of the community that grows as a result of engaging themselves with this story.
Runge, Paul. “Video Games Represent the Most Powerful (and Potentially Dangerous) Era in Storytelling”. Huff Post Tech. 10/21/2013 31 January 2014
Fan Culture is something that has been around for a while, but it the last twenty years, since the introduction of the Internet, it is also something that has changed dramatically. A fan is an enthusiast of something and now the Internet is a good home for fans to gather and build together a community of fans, a ‘Fandom’. The turn Fandom means a community of a group of people who all enjoy them same thing and the Internet has created a place for online communities. Fan Culture has irreversibly changed the media industry because of the ability share information and fan made created content. The creation of these online based communities have meant that people from all over the world can talk about the latest TV shows, movies, books, comics and other forms of content and create groups dedicated to them. The Internet has also become a platform for the creation of a collective community, where individuals who all have shared interests can go. “Fans uses of technologies bring a sense of playfulness to the work of active reading” (2010; 12). Digital Fandoms are user-led forum of content creation, the fans create a number of things; fan fiction, fan blogs, fan made videos, fan art work, wiki leaks. The fans create a whole new life, another side of the TV show, film or book, that is complicity run and used by the fans. These fan made creation do not have to stick to what is canon in the show and can do what they wish with the character and the storylines. However is this an okay thing to do, Henry Jenkins refers to the fans who create these things are ‘Textual Poachers’. Those fans are now active interpreters instead of passive consumers. In this view the fans are poaching the created content of the writer. The fans have power to create t...
Back in 2003 Henry Jenkins caused a massive stir in the media world when he introduced the idea of transmedia storytelling, Jenkins describes it as a process where elements of fiction are dispersed across multiple media platforms in order to serve the purpose of creating a coordinated entertainment experience. Jenkins goes on to say that preferably, each medium will contribute different aspects which will assist in the telling of a story and unveil new aspects. However a good transmedia text does not simply supply information, instead it allows the fans, or fandom, to interact with the world within the text (Jenkins, 2007). This essay will arue that transmedia storytelling impacts on how the audience interacts with the story, in order to
She doesn’t know this, but she changed my life. She was there for me when it seemed like no one else was. When most of my friends were dissolving around me and I just didn’t feel like I could do anything right, she was there, and she made everything seem okay. It didn’t matter that I was inevitably going to graduate with a GPA a tenth of a point lower than I wanted, or that my director told me that he was disappointed in me because I just didn’t seem focused lately, or that my other friends just weren’t talking to me anymore. It didn’t matter because she was there and she made me feel safe. She’s my best friend, and I love her and admire her for so many different reasons.
In Lev Manovich’s What is Digital Cinema, he states that “traditional film technology is universally being replaced by digital technology.” (Manovich, 178) This is indeed true. Digital technology is changing video games as well. Both films and video games depend on each other. Film studios and video game developers remediate each other’s product to maximize profits. Filmmakers, cinematographers, directors, actors and composers often work on video games. The two industries use the same technology. Both medias tell interrelated stories in both narrative worlds, which Jenkins calls it, transmedia storytelling. Transmedia storytelling is an approach that reconfigures the entire media experience. Video games that are based on films allow the players to interact with the characters that are seen in the film by manipulating the console’s controller.
There are many differences between friends and family, such as whether the relationship will change, what kind of relationships they have and if they live together or not. Each parts show the essential differences between them.
In Hamlet on the Holodeck, Janet Murray argues that we live in an age of electronic incubabula. Noting that it took fifty years after the invention of the printing press to establish the conventions of the printed book, she writes, "The garish videogames and tangled Web sites of the current digital environment are part of a similar period of technical evolution, part of a similar struggle for the conventions of coherent communication" (28). Although I disagree in various ways with her vision of where electronic narrative is going, it does seem likely that in twenty years, or fifty, certain things will be obvious about electronic narrative that those of us who are working in the field today simply do not see. Alongside the obvious drawbacks--forget marble and gilded monuments, it would be nice for a work to outlast the average Yugo--are some advantages, not the least of which is what Michael Joyce calls "the momentary advantage of our awkwardness": we have an opportunity to see our interactions with electronic media before they become as transparent as our interactions with print media have become. The particular interaction I want to look at today is the interaction of technology and imagination. If computer media do nothing else, they surely offer the imagination new opportunities; indeed, the past ten years of electronic writing has been an era of extraordinary technical innovation. Yet this is also, again, an age of incubabula, of awkwardness. My question today is, what can we say about this awkwardness, insofar as it pertains to the interaction of technology and the imagination?