Tiffany Tan (s3379763)
Christine Luong (s3381602)
Jenkins, H 2010, ‘Transmedia Storytelling and Entertainment: An annotated syllabus,’ Continuum: Journal of Media & Cultural Studies vol. 24, no. 6, pp. 943–958
In the Journal of Media & Cultural Studies [Dec 2010], Henry Jenkins gives an in-depth analysis of the concept of transmedia and its relationship towards storytelling and entertainment. He begins by defining what transmedia is which provides a good entry point by clarifying any misunderstandings before he delves into specific examples. He defines transmedia storytelling as ‘a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience.’ Jenkins also brings up terms within the concept of transmedia such as the distinction between storytelling and branding. This is beneficial to determine the motivations as to why certain companies focus on certain areas of transmedia and not necessarily both branding and storytelling. While Jenkins does not talk too deeply about fan culture, he still draws brief attention towards the idea that extra narrative/character background (transmedia storytelling) encourage followers to engage more with the text (creating more meaningful internal connections with characters). Branding on the other hand is seen to play a more influential part in the financial side of transmedia to ‘enhance the franchise’s branding.’ Throughout the journal, Jenkins provides many well thought out real life examples of transmedia (e.g. Starwars) giving readers a much better understanding of this concept.
Bolin, G 2010, ‘Digitization, Multiplatform Texts, And Audience Reception’, Popular Communication, vol. 8, no. 1, pp. 72-83, Communication & Mass Media Complete
Goran Bolin’s article ‘Digitization, Multiplatform Texts, And Audience Reception’ offers an analysis and insight into ideas surrounding transmedia. Bolin emphasizes that transmedia storytelling is not the mere use of multiple platforms.
Bolin contends that television still “hold[s] a prominent position” amongst other interconnected technologies including radio, the Internet, and mobile phones. For this reason, Bolin discusses the benefits of transmedia storytelling for increasing audience engagement of different television series.
Bolin explains that by combining other forms of media into the storytelling within a television program “opens doors for innovative narrative structure.” This is because the program is able to utilize the unique merits of each platform.
Bolin also describes the significance that transmedia holds within the realm of advertising, where it can be used to “influence audience expectation.” As a result, Bolin suggests that transmedia storytelling can be driven by market and artistic motivations.
Bolin goes on to state that the digitization of texts “is liberating for audiences and gives them a certain amount of power.” Thus, transmedia encourages audiences to participate in the production and expansion of the stories.
Overall, Bolin places a heavy focus on the difference between using different platforms, and actually using transmedia for storytelling. He also asserts a need for examining how audiences contribute to the text.
Films for transmedia storytelling can serve as entertainment in regards to Pokemon. Not everyone will watch every episode of the TV show unless they are huge supporters or fans. Even a person beginning an interest in Pokemon may be more likely to watch the film first (because it is a quicker process), then decide to watch the TV series (longer process that requires more commitment).
It’s not absolutely necessary to watch the film or TV series to know the characters. For some consumers, it is more about the entertainment seeing characters in adventure. They may only want to see characters go through trials and win and go through action sequences without having an emotional connection to want to find out more about character’s personal background. OR it could be the other way round, people who watch the TV series may already know facts about them e.g. their family, education, likes, dislikes without watching the films.
Transmedia introduced new concepts but more so as a sideline *extra stuff* but not essential to understanding serious concepts of Pokemon which means viewers are able to understand Pokemon TV series/film but may not pick it up as quick as others who are engaged with all platforms.
You get what you put effort in for. E.g. Watching T.V battle techniques for the games, or you could research techniques on google – you will still be able to engage with the gaming platform, but if you didn’t do these things, you can still play the game it will most likely just be a harder process. Therefore the Pokemon franchise exists of many media forms in which audiences can pick and choose the ones they want to engage in. They do not necessarily have to participate in all forms of media to understand what Pokemon is about.
Pokemon is seen via game consoles, card games, tv show, movies
Fan culture exists where there are online communities of Pokemon fans where they share insights/tips with one another. E.g. game forums
Downfall -> When you are given a Pokedex , if you are not a fan and do not engage with other forms of media, then you won’t understand the value of a Pokedex.
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Bolin, G 2010, ‘Digitization, Multiplatform Texts, And Audience Reception’, Communication & Mass Media Complete, Popular Communication, vol. 8, no.1, pp. 72-83.
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Jenkins, H 2010,’Transmedia Storytelling and Entertainment: An annotated syllabus’, Continuum: Journal of Media & Cultural Studies, vol. 24, no. 6, pp. 943-958.