This is the fifth part of my SXSW 2014 re-caps. You can find a complete list of all re-caps here. Today’s re-cap is about my favorite panel from SXSW 2014, entitled How Jane Austen Conquered Social Storytelling. The two panelists, Bernie Su and Jay Bushman, explained how they made their three web series The Lizzie Bennet Diaries, Welcome to Sanditon, and Emma Approved true transmedia stories spread across different social media platforms. Not only have all three stories become immensely successful, but they actually ended up creating revenue through monetization. The Lizzie Bennet Diaries Background The LBD originally ran from April 2012 to March 2013 as a
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
This is my re-cap of the How to Monetize the 2nd Screen Evolution panel from SXSW 2014. Check out the overview of all my SXSW 2014 re-caps here. Presenters: Gregory Consiglio, President & COO, Viggle Inc. Jesse Redniss, CSO, Mass Relevance Inc. The most favorite second screen apps remain Twitter and Facebook. Show- and network-specific ones still struggle. Twitter and FB remain so popular because they allow social consumption – fans of a show want to share their thoughts and reactions with others, especially if they don’t have friends or family in the same physical space who share their
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
After attending last year’s amazing and truly impressive Storyworld 2011 Conference I was more than happy to be able to attend this year’s Storyworld in Hollywood as well. While it was great to see everybody again, the majority of the presentations and panels unfortunately had only very few new insights to offer. This may be due to a possible indecision among the organizers in terms of whether Storyworld should try to introduce transmedia as a concept to those who have heard little of it before, or whether it should foster a knowledge- and experience-exchange among the existing transmedia community. I
I have to admit that I’ve been avoiding the topic of participation in transmedia (or any media, really). The reason for this is simple; because I’m approaching transmedia from a business perspective in this blog, I mostly see problems of participation at the moment, and very few solutions. Even after thinking about the compatibility of participation and corporate interests for a long while now, I haven’t reached a conclusion on what the best way forward is. Consequently, I’d like to put this question out there to all of you, in the hopes that some of you might offer me perspectives
Looking at mine and others’ re-caps of the recent conferences, it occurred to me that a LOT of ground had been covered – almost too much to make sense of, at least through simple reading. In order to make things a bit easier, I’m going to summarize the main trends and themes that were not only a) repeatedly mentioned at the recent conferences, but are also b) extremely crucial for transmedia, and for this point in time.
In case you couldn’t make this year’s StoryWorld Conference in San Francisco, I’ll be offering a few short re-caps of key talks and themes throughout the next three days. Here we go. DAY 1 – Morning Key Themes: The story remains crucial to transmedia. A transmedia project should not originate from the desire to make use of new technology, but from the desire to tell a captivating story. After centuries of ‘broadcasting’ (radio, TV, film, publishing, etc. – offering mass content to isolated consumers) storytelling now returns to its social roots, particularly due to new media’s possibilities to share content.
How do you construct a transmedia narrative? Does it differ from stories told in film, books, TV shows, computer games, etc. until today? Yes and no, in my opinion. As a media consumers myself, and having observed and researched several successful and lasting story worlds such as Star Wars, Lord of the Rings, Harry Potter, Star Trek, Buffy, various mangas/animes, and, of course, classics such as The Illiad and The Odysee, I noticed several important elements that allowed these respective universes to live on for decades (or millenia, in the case of the latter two) and to inspire not only
Tonight it was time for another ad-hoc Transmedia LA Meetup. This time the guest was Prof. Henry Jenkins, one of the earliest thought-leaders on transmedia and convergence culture. I am basing the following paragraphs solely on the notes I took during Henry’s talk, so they are no word-for-word transcription. As a matter of fact, I will be paraphrasing most of the time. If you see phrases or sentences in quotation marks, they denote a word-for-word citation, but everything else is just summing up Henry’s words.