Here comes part 3 of my SXSW14 re-caps: New Narratives: Building an Interactive Storyworld. For an overview of all SXSW14 re-caps, please click here. Panelists: Aina Abiodun, Founder, Storycode Karim Ahmad, Sr Digital Content Strategist, ITVS Mike Knowlton, Partner, Murmur Ted Hope, CEO, Fandor / Double Hope Films At the moment, most advertising remains very classic and in-your-face. However, the times of such advertising are over and it now needs greater sophistication. Your audience expects branded content rather than pure product placement, for example. Everything else – blatant „buy this!“, „buy that!“ is white noise. This is
In about three weeks, The Hunger Games: Catching Fire will hit cinemas around the world. Excitement for the next installment of the THG universe is high, and a large part of it is due to the transmedia marketing strategy for Catching Fire, which consists mostly of a mix of social media, fan participation, and brand cooperations. Responsible for this unique marketing campaign is Ignition Creative, an LA-based ad agency. The marketing campaign for Catching Fire kicked off at the beginning of 2013, and over the course of the last months, we’ve been treated to increasing amounts of content from the THG world. Today, I’d like to
Today I spent the day at the FMX Conference in Stuttgart where I’d been asked to introduce the keynote talk “Envisioning the Literary World of Cornelia Funke.” As you may know, Cornelia Funke is an international best-selling author who has penned Wild Chicks, The Thief Lord, the Inkwell series, and Dragon Rider, for example. In the past, Cornelia’s works have often been adapted to film, theater and computer games. However, after her works had been adapted, Cornelia often felt that they no longer matched the image and vision of the story as she saw it inside her head.
Yesterday I was interviewed by Vanessa Cornford. Vanessa is the Course Leader and a Lecturer of Acting & Contemporary Theatre Making at Northbrook College Sussex. She currently researches whether the trend towards transmedia requires a change in the way actors are trained. Given that relatively little has been said on how acting may be affected by transmedia, I’d like to share some of the points from my interview with you. No matter whether you’re a director, a producer, an actor or a writer – the following notes should be useful to everyone involved in a transmedia project when thinking
Here’s the last part of my coverage of this year’s Storyworld Conference. Be sure to check out parts 1 and 2 as well and to check back for my reflections on the current trends and approaches in the transmedia community. Friday, October 19th 2012 The last day was defined by two presentations and a final panel. In the first keynote presentation, Kathy Franklin, Director of Franchising at Lightstorm Entertainment (the production company behind James Cameron’s Avatar) shared a few of the franchise’s plans to go transmedia in the near future. It must be noted that the original release of Avatar was
You can find the SWC12 re-cap of Day 1 here. As stated in my first re-cap, I will only be highlighting a few of the points that were made, namely those that offered new ideas and/or new approaches compared to SWC11. Thursday, October 18th 2012 Storyworld’s second day started out with a presentation of “Take this Lollipop” by its producer Jason Zada. Jason has specialized in combining video and social media content in a way that inserts the user into the story. If you haven’t seen this project yet, I highly recommend you look it up (and experience it) –
Just when I thought Disney couldn’t get any bigger after acquiring Marvel and launching The Avengers as a transmedia franchise, the entertainment giant proves me all wrong. Today, Disney announced that it will purchase Lucasfilm for approximately $4 billion, complete with its rights to the Star Wars and Indiana Jones franchises and Lucasfilm’s special effects arms. While this message left me – and according to my social media feeds, many others as well – completely stunned, the news probably shouldn’t have come as too much of a surprise after all. If you take a closer look at the current entertainment landscape, you’ll find that
Last week I spent two days at this year’s re:publica conference (#rp12) in Berlin. re:publica conferences focus on all kinds of issues around the web, in particular on blogging, social media, and digital media’s effect on society. This year, re:publica’s topic strands included law & politics, education, innovation, civil action, health, and entertainment, and how each of these areas have been impacted by recent developments in digital media.
DAY 3: Talk: Story Architecture – Crafting Transmedia Design Siobhan O’Flynn, Karine Halpern with Scott Walker How to lead audiences across different platforms is still a challenge of transmedia, and it is a crucial question for experience design. Stories are so popular because they communicate experiences and emotions. Design principles for transmedia stories: Non-linear spatial storytelling – whilst keeping the coherent and cohesive. Break the 4th wall: augmented reality. Transmedia offers tremendous opportunities for individuals to enhance their own experience of the story, to play with the content on their own terms.
DAY 2 – Morning Talk: It all started with a Mouse – Orrin Shively (Disney) in conversation with Alison Norrington Mickey’s 10 commandments (by Marty Sklar): Know your audience. Wear your guests’ shoes. Organize the flow of people and ideas. Create a weenie. Communicate with visual literacy.