Task 1: A.I Artificial Intelligence

Xuanling Li (Candy) (s3368911)
Yu-Han Yang (Angela) (s3375332)
Ruirui Zhang (Alice) (s3388441)

1. Source: Abba T. 2009, ‘Hybrid stories: examining the future of transmedia narrative’, Science Fiction Film and Television, 2.1, Apr. 2009, p59, Liverpool university Press, UK.

Since 2001, in the field of SF (Science Fiction) film or drama, there is an increasing trend about recombining the web, mobile telephony and print media with established broadcast platforms, in order to produce a transmedia work that interleaves online and offline experiences to contemporary savvy audience says Abba (2009). By especially focusing on the emergence of ARG (Alternate Reality games), firstly, Abba discusses ARG represents a form that contributing to SF transmedia storytelling process. Additionally, digital media provide opportunity and possibility for a story be transposed from their original form and be reconstituted to new ends in the networked ecology. Besides, the emergence of a multimedia culture is able to influence SF through its specific qualities of multi-platform narratives and the means are used to understand SF’s story line. Regarding with audiences, the narrative reality of ARG is combining website-based elements and real-world interactions with filmed media, in order to produce a platform allowing participants to interactively experience the story line development. It is able to demonstrate the desire of participants while they joining the construction of the fictional world. The future of transmedia storytelling defined by Abba, to concern with observing the present rather than predicting the future is an overall form SF taken place since twenty-firstly century. Also the relationship between cultural form and story content has driven the creation of combination of different single independent media forms. Transmedia storytelling are framed by creation and textual meaning, in which its interactive audience continue to embrace their responsibility, a shared part in the building-worlds in both fiction and real world.
(By Candy)

2.Phillips, Andrea (2012) “The Four Creative Purposes for Transmedia” A creator’s guide to transmedia storytelling: how to captivate and engage audiences across multiple platforms. New York: McGraw-Hill (p. 41-54)

“A Creator’s Guide to Transmedia Storytelling” is written by Andrea Phillips, in the book, Phillips guides the creators through the process of telling their stories on multiple media platforms. The book is set up in five parts, which are the Introduction to Transmedia, Storytelling, Structure, Production and The Big Picture. One of the most useful chapters for me, I think it will be “The Four Creative Purpose for Transmedia”. Andrea Phillips warns creators that content have to serve a creative purpose and further the narrative in some way. She also outlines the four primary creative purposes and the reasons for doing transmedia projects, 1.World-buliding 2.Characterization 3. Backstory and exposition 4.Native transmedia. In terms of world-building, Philips defined world-building as an entry-level transmedia storytelling and explains the differences of world-building between text-only work of fiction and transmedia storytelling. This can be further backup with Henry Jenkins’ theory, he identifies world-building as a key trait of the transmedia story. For characterization, Philips points out the serious logistical problems to grapple with when doing characterization work in an interactive medium in different time period, before, during after, iconic state. In terms of backstory and exposition, Philips defined that this is where the line into definitely transmedia gets a lot less blurry and I agree with her, because this is the step to smoothing the transitions between different media platforms. Last, native transmedia, Philips claims that transmedia storytelling is to create a story that is fractured into pieces and convey through multiple media. To create transmedia, instead of just telling the story, has to be entirely and natively transmedia from start to finish which in order to give an experience to the audience.
(By Angela)

3. Scolari CA, 2009, ‘Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Production’, International Journal of Communication, no. 3, pp. 586-606.

The journal article ‘Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Production’ is written by Carlos Alberto Scolari and published on International Journal of Communication magazine in 2009, which is a theoretical reflection on ‘transmedia storytelling’ from a perspective that integrates semiotics and narratology in the context of media studies. Moreover, the article analyzed how new multimodal narrative structures create different implicit consumers and construct a narrative world. The article also analyzed transmedia storytelling from the perspective of a semiotics of branding.

First of all, Scolari identified transmedia storytelling at the most basic level is telling stories across multiple media. However, at the present time, the most significant stories tend to flow cross multiple media platforms. In the second part of article, Scolari introduced a semio-narratological approach to transmedia storytelling, and compared two stories: Steve Canyon vs. Jack Bauer. Thirdly, Scolari discussed the strategies for expanding fictional worlds and the relationship between transmedia storytelling and branding. Scolari emphasized that ‘in transmedia storytelling, the brand is expressed by the characters, topics, and aesthetic style of the fictional world.’

Finally, to conclude the article, Scolari recommend that future research in this ambit should refine the definition of transmedia storytelling and analyze more transmedia storytelling experiences to establish the properties, limits, and possibilities of the specific kind of narrative structure.



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