Week 7 round up

In the workshops today we made a start on individual progress meetings (to be continued in wk.8) and and we had another project-group consultation session.

Most of the projects have now found their conceptual feet – the works are in a space where they are looking pretty tight on paper and in theory our users go from here to there and make these connections along the way …. But we won’t really know that this will ‘work’ until you give it a red-hot-go and put it all together in a pretty ‘complete’ draft…

Some students have been putting the squeeze on me by asking how complete it really needs to be … I guess, make it as good as you can with what you have but ensure you do the most important bits first. The bottom line is that it needs to be complete enough for Jim Shomos and the rest of the third year media cohort to be able to make sense of work, experience it along the lines you intend,  and be in a position to give you some meaningful feedback …

So, for those of you who self-identified as responding well to deadlines – this is your moment – you have just under two weeks to come up with a working, completed transmedia project.

The first week after easter, our ‘week 8’, represents the end of the second phase of the course. So in the workshops we will be conducting peer moderation and sharing self-assessment. You don’t need to do anything to prepare for peer moderation other than come to class (the whole thing will be done in the workshop) but you do need to write up and print out your self-assessment 1 and bring it to the week 8 workshop. You will find the self-assessment form in blackboard – you’ll need to fill in section2.  Week 8 plan up on blackboard too.

And my last bit of advice – and perhaps the best bit of advice I have to give – is don’t forget to enjoy making media … as you put these works together I hope you have lots of those moments … when you look at the clock thinking 10 minutes must have passed and realise you have been completely absorbed for several hours… when you get that thrill and sense of satisfaction when you manage to make that thing connect and work well… when the whole venture seems so completely mad that you start laughing and only the others in the group can really understand the joke.

Happy easter  and mid-term break

week 6 round up

Golly – half way through the course and semester. It goes so quickly!

Righto – in the workshops, some research task groups gave presented their work live and then we spent the rest of the workshop with project consults.

A few general points about the developing projects….

> It goes without saying that your projects need to be TRANSMEDIA narratives – this can include but is not solely – an ARG or game, a participatory or UGM project, an interactive website or webdrama … if you are unsure about the difference between these forms (and the difference between a re-boot and an adaptation and transmedia expansion – which you also need to know in order to complete the assignment) please review your notes from the first four weeks of the course.

> Remember that a key aim of PP1 is to further develop your storytelling skills – so when we mark your work we will be privileging quality and complexity of the distributed narrative over media production values. Last year in TV-Radio you leant how to make relatively high end, richly textured single media works of up to 10 minutes – this semester you are focusing on different stuff…

> The point above is not to say that your artefacts shouldn’t be clever, elegant and highly suited to the medium deployed – your challenge is to be creative within the limitations of time and resources in terms of expressing your stories – so think through the implications of a concept that involves a a big cast, lots of locations, actors, extensive lights… and be open to telling a parts of the narrative in images and text as opposed to a short film or audio feature.

> Set-ups and pay offs are really important… if you add a piece of media to your story you need to set it up in other parts of the story and give users some kind of pay off for going there… don’t mistake redundancy for depth in TM. Users need to want to click on that button to experience the next part of your story becuse the story makes them do it – not because there happens to be a button/link at the bottom of the page…

> Finally – read the assignment sheet again – now is a good time to remind yourself of what is required – if you have questions or are unclear ask your tutor about it  workshop7

workshop 7 outline in blackboard

Task 1: Sherlock

Simon Gilberg s3379761
Maria Barboa s3379918

Insights

  • Effective transmedia has to be justified by the story
  • Transmedia writers must be part of the project early on, even if the anchor text is the only text set to be consumed by most of the audience
  • Characters have to remain consistent across media
  • The question of co-construction and how much, if any, interactivity will be present in some of the platforms

 

summary by Simon Gilberg s3379761

Holmes in the Small Screen
The Television Contexts of Sherlock
Tom Steward

‘In the flexi- narrative format, showrunners maintain larger, framing narrative arcs while writers work on stand-alone episodes, as was certainly the case with Sherlock’s first season, as Gatiss and Moffat wrote the first and last episode.’

This quote reflects a long-established and strengthening idea surrounding the role of writers on TV series as producers, or showrunners, ultimately in charge of the intellectual property and guiding its form and narrative development throughout its production. This includes having a large amount of creative control over the crew involved, including other writers, and also who is cast.

In most cases, while these showrunners will maintain overall control of the show, they will often ask other writers to come in and fill in much of the series, the showrunners content in designing the overall narrative arc, perhaps running over one series or season, or the entirety of the programme.

This is also applicable to the topic of transmedia as bringing in other writers to write transmedia content is highly likely, as is the case with Sherlock. That said, the showrunners do maintain an overall control of the story and integrate into their story world. This control from above allows them to see the big picture, and to maintain consistency throughout the platforms.

However, one question raised is how audience interaction can impact this process. Already, despite its closed-off, “official” approach, Sherlock has incorporated fan content, at least in the sense of fan theories. How does the relationship with a showrunner, or in this case, a storyrunner, change when the audience is given power over the narrative, or attempts to influence it?

 

summary by Mar Barboa s3379918

‘The Literary, Televisual and Digital Adventures of the Beloved Detective’ from Sherlock and Transmedia Fandom : Essays on the BBC Series

(Busse & Stein, 2012)

In the introduction to the their book, Busse and Stein introduce the discussion of the transmedia nature of the BBC’s Sherlock. Referencing the original stories by Conan Doyle, they explore the evolution of the famous detective throughout the multiple adaptations of his adventures – specifically his reinvention as a man of the digital age in Sherlock.

Busse and Stein argue that the show recasts Sherlock Holmes as a “millennial thinker”. He is a modern man, comfortable with technology. Yet, he remains recognizable through the inclusion of cultural references and meaning that have become iconic of the character (the deerstalker, the violin, the pipe).

By analyzing the transmedia characteristic of the show’s narrative, Busse and Stein raise issues about what constitutes a transmedia extension. They put into question Henry Jenkins definition of transmedia, and subsequently ask whether a revision that allows non-official content to be considered part of the narrative thread is necessary.

The authors mention examples of what they call “fan-instigated transmedia”, including a Japanese manga that continues the adventures of Sherlock and John in a different media platform. They argue that such texts could very well be considered transmedia branches from the story of Sherlock, despite the fact that they exist outside the BBC’s jurisdiction.

 

Bibliography:

Busse, L &Stein, L 2012, ‘Introduction: The Literary, Televisual and Digital Adventures of the Beloved Detective’ in Sherlock and Transmedia Fandom : Essays on the BBC Series, e-book, accessed 27 March 2014, <http://RMIT.eblib.com.au/patron/FullRecord.aspx?p=928937&gt;.

Christy, D 2014, ‘A Primer On Transmedia & Design’, lecture commissioned by RMIT

Denham, J 2014, ‘Sherlock series 3: Fans react on Twitter’, The Independent 02 January, available at www.independent.co.uk, accessed on 18 March 2012

Evans, EJ 2012, ‘Shaping Sherlocks – Institutional Practice and the Adaptation of Character’, in Sherlock and Transmedia Fandom : Essays on the BBCSeries, McFarland & Company, Inc., North Carolina, pp. 102-117.

Harvey, CB 2012 ‘Sherlock’s Webs – What the Detective Remembered from the Doctor About Transmediality’, in Sherlock and Transmedia Fandom : Essays on the BBC Series, McFarland & Company, Inc., North Carolina, p. 118.

Hills, M 2012, ‘Sherlock’s Epistemological Economy and the Value of “Fan” Knowledge – How Producer-Fans Play the (Great) Game of Fandom in Sherlock and Transmedia Fandom : Essays on the BBC Series, e-book, accessed 21 March 2014, <http://RMIT.eblib.com.au/patron/FullRecord.aspx?p=928937&gt;.

Polasek, AD 2013, ‘Surveying the Post-Millennial Sherlock Holmes: A Case for the Great Detective as a Man of Our Times’, Adaptation, vol. 6, no. 3, pp. 384–393.

Polasek, A 2012, ‘Winning “The Grand Game” – Sherlock and the Fragmentation of Fan Discourse in Sherlock and Transmedia Fandom : Essays on the BBC Series, e-book, accessed 21 March 2014, <http://RMIT.eblib.com.au/patron/FullRecord.aspx?p=928937&gt;.

Poore, B 2013 ‘Sherlock Holmes and the Leap of Faith: The Forces of Fandom and Convergence in Adaptations of the Holmes and Watson Series’,Adaptation, Transmedia Storytelling and Participatory Culture, vol.6 no.2, pp. 159-171. Available from: Oxford Journals, accessed 24 March 2014.

Stewart, T 2012, ‘Holmes in the Small Screen – The Television Contexts of Sherlock’, in Sherlock and Transmedia Fandom : Essays on the BBC Series, McFarland & Company, Inc., North Carolina, p. 140.

Task 1: Scarecrow Campaign

Line Jensen (3276570)
Kristopher Vanston (3282112)

http://landofthebloodyunknown.blogspot.com.au/2014/04/scarecrow-campaign-research-task.html

Academic Reviews

Scolari, C. A. 2009. Transmedia storytelling: Implicit consumers, narrative worlds, and branding in contemporary media production. International Journal of Communication, 3 p. 21.

Scolari discuss in his article how transmedia with its range of possibilities, and its consumers has changed the way big businesses strategies their branding and ways of marketing.Transmedia not only affects the text but also includes transformations in the production and consumption processes. Researchers and producers visualise new business opportunities for the media market as new generations of consumers develop the skills to deal with the flow of stories and become ‘hunters of information from multiple sources.’

Economic subjects no longer try to sell a product or service by mean of persuasive advertising. Now the objectives are much more ambitious; they aim to create a symbolic universe endured with meaning. Scolari propose that the brand is a device that can produce a discourse, give it a meaning, and communicate this to audiences. The brand expresses values and is presented as an interpretative contract between the companies and consumers; it proposes a series of values and the consumers accept to be a part of this world. Therefore brand appear as a narrative or possible worlds since they constitute complex discourse universes with a strong narrative imprint.

Line Jensen s3276570

Veglis, A. 2012. From Cross Media to Transmedia Reporting in Newspaper Articles. Publishing research quarterly, 28 (4), pp. 313–324.

As we deconstruct the foundations which construct transmedia, we can clearly see the relevance of today’s traditional media having to adapt, compete and integrate with the ever changing landscape of this new emerging media. It is without a doubt that print media specifically has been challenged by the digital age. Andrew Veglis published a journal artical in where he outlines his concern with the emergence of cross and transmedia culture where he states “…in order to guarantee long-term success with audiences in the future, it will be vital to change from a single product [print media] oriented to a multimedia content and user-oriented approach.” (Veglis, 2012, pp. 313).

Kris Vanston s3282112

Key points – insights

Our key points/insights to transmedia and convergence culture that we would think valuable to us and our peers as media student.

• Transmedia storytelling are engaging our brains at the intuitive; sensory and executive levels.

• Transmedia strategies create many points of entry that reach and link multiple demographics and target different user needs to effectively expand the customer base.

• There is a new consumer brain, thanks to participatory culture with an on-demand information.

• Transmedia storytelling creates a meaningful relationship between companies and audience.

• The sophisticated transmedia landscape is full of social networks and 24/7 interactive information.

References

Jenkins, Henry, 2007. Transmedia Storytelling 101

Scolari, C. A. 2009. Transmedia storytelling: Implicit consumers, narrative worlds, and branding in contemporary media production. International Journal of Communication, 3 p. 21.

Veglis, A. 2012. From Cross Media to Transmedia Reporting in Newspaper Articles. Publishing research quarterly, 28 (4), pp. 313–324.

Bibliography.

Jenkins, Henry, 2007. Transmedia Storytelling 101

Long,Geoffrey A,2001. Transmedia Storytelling: business aesthetics and production at the Jim Henson Company.

Scolari, C. A. 2009. Transmedia storytelling: Implicit consumers, narrative worlds, and branding in contemporary media production. International Journal of Communication, 3 p. 21.

Veglis, A. 2012. From Cross Media to Transmedia Reporting in Newspaper Articles. Publishing research quarterly, 28 (4), pp. 313–324.

Brandstories.net

Convergenceishere.weebly.com

Forbes.com

Task 1: Anchorman 2

Christine Butcher (3330185)

 

Anchorman 2

TRANSMEDIA READING REFERENCES

Dowd, Tom. Michael Fry, Michael Niederman, Josef Steiff (2013). Storytelling Across Worlds: Transmedia for Creatives and Producers. New York: Focal Press (p.3-32)

 

In Dowd’s article “…..” he describes transmedia as a product and process of storytelling; building on the end product, or original product of a story to create a transmedia narrative which transcends the original storytelling medium itself in order to provide audiences with an opportunity to further their engagement with the story and/or elements of the story, interactively participate in the world of the story and subsequently capture their imagination. In turn, if executed successfully, this can generate much more exposure and possibly revenue for the product.

 

Success rides on certain aspects of the narrative and the way it is developed into a transmedia experience. Dowd believes that transmedia is most conducive to stories with a complex universe, rich back story or mythology as these stories have diverse characters and universes to be explored. The more platforms with which this exploration is undertaken, the better, according to Dowd and such exploration should be serving more to the audience than just adapting the same story to different media, ‘each expression has to tell a complete piece of a larger story.’ Dowd notes the Internet as the most powerful tool with which to do so, allowing producers to distribute content, communicate with audiences, create viral marketing and much more.

 

 

SYNTHESIS OF RELEVANT INSIGHTS/LEARNING

 

  • Branding- utilize a highly regarded pre-existing characters as mascots to benefit both parties
  • Bombard your audience with a plethora of exclusive new content
  • You can inject your product/production directly into a specific market via customised content
  •  Use existing resources to create brand new pieces of content and extend the life of the story
  • Extra content is just as valuable as primary product
  • Viral content is most successful when kept short and sweet
  • Guerilla publicity stunts keep it fresh and interesting
  • Segment content by target audience
  • Consumer created content is a powerful tool, promoted in form of competition or similar, they can evangelise on your behalf

Task 1: The Avengers

Amy Bryans (s3331007)
Simon Toppin (3327537)
Tash Zafari (s3349725)

 

INDEPENDENT READING SUMMARIES: 

AMY BRYANS:  

Convergence Culture: Where Old and New Media Collide

Dr Henry Jenkins

 

Jenkins’ award-winning book explores and analyses the rapidly expanding media landscape that has been transformed by the Internet, digital technology and new media. This transformation has influenced the relationships between audiences and media producers dramatically. With audiences able to share and create more than ever; industries are feeling the pressure to deliver sophisticated and ‘interactive’ media products, yet producers are also enjoying a newfound power to franchise across many media platforms. This relationship between audiences and producers forms a large part of the book, and is studied through the “phenomenon of reality television”, by examining the television shows Survivor and American Idol.

Jenkins explores the concept that a piece of media can be transformed into a whole world of interlinking books, movies, websites and images. Jenkins is considered an expert in “transmedia”, and states, “transmedia storytelling is the art of world making.” This “world making” has created enormous opportunities for marketing and audience expansion, while potentially giving audiences a new and empowering role in consumption – now that the media experience all depends on enticing the audience to delve into the world and explore. Jenkins explores transmedia through the case study of The Matrix franchise, one of the original examples of fully-fledged transmedia.

(Jenkins, Henry: Convergence Culture: Where Old and New Media Collide, New York University Press, 2006.)

TASH ZAFARI: 

Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Productions

Carols Alberto Scolari

 

Transmedia storytelling is described through the reading as, “stories told across multiple media. At present time, the most significant stories tend to flow across multiple platforms.” Scolari goes further and discusses transmedia storytelling through a different type of narrative structure, which expands through different languages (verbal, ironic, etc.) and media (cinema, comics, television, video games, etc.). Scolari cites Dinehart about the importance of semiotics and cognitive psychological abilities. This idea describes that the viewer/user/player transforms the story through his or her own natural cognitive psychological abilities, therefore enabling the creations to surpass medium. It is during transmedial play that the ultimate story agency, and decentralized authorship is realized. This then makes the viewer/user/player the true producer of the creation.

Media as stated above has many platforms, Scolari points out that the story told through one type of media like comics is not the same story that is told on television or in cinema. The combination of the different media and languages, participate and contribute to the construction of the transmedia narrative world.

Scolari also addresses the branding and text to subject’s categories. He outlines that transmedia storytelling is apart of the ever growing and expanding consumption process. Researches and producers see new business opportunities for the media market, where they have realized that consumers are becoming the ‘hunters’ of information from multiple sources. Producers have the capacity to go that one step further with branding, using their brand to exploit the transmedia storytelling, utilizing their intellectual properties across multiple different channels.

Scolari, C A 2009, ‘Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Productions,’ Journal of Communication, vol 3, viewed 18/3/2014. <ijoc.org/index.php/ijoc/article/download/477/336‎>

SIMON TOPPIN: 

Character, Audience, Agency and Transmedia Drama

Elizabeth Jane Evans

 

Evans looks at several different transmedia sources, using the Marvel Comics universe and BBC drama ‘Spooks’, to illustrate points about transmedia. Evans speaks of “the need for a new model of understanding audience engagement with audio-visual, fictional entertainment”, (Evans, EJ. 2008, p197) and sees transmedia as “the way that technologies have been used to extend dramas onto multiple media outlets… that are capable of providing different kinds of entertainment in their own right”. (Evans, EJ. 2008, p198) One interesting point that Evans makes concerns what she calls, ‘the myth of interactivity’. This is the idea that no audience member can truly alter the course of a project due to the fact that the options become restricted, naturally, upon the project’s completion. Instead, she refers through Barthes and a later academic named Lewis, to make the case that audience power comes from an audience’s interpretation of a text, instead of from the notion that the audience has any real outlets to influence what happens in the plot, or in the inner world of the characters.

Evans then goes on to describe some familiar territory in regards to transmedia – for audiences, most importantly, above any notion of agency, interactivity or even plot, is having relatable characters that drive the story. It seems to me, despite the modern fetishisation of non-linear narratives and fragmented, multi-media storytelling, ‘the basics’ are still the most important part of any story.

(Evans, Elizabeth Jane. 2008. ‘Character, Audience Agency and Transmedia Drama’. In ‘Media Culture Study’. Sage.)

—————————————-

SYNTHESIS OF RELEVANT INSIGHTS/LEARNING:

Synthesis

Simon Toppin Tash Zirafi Amy Bryans

  • Transmedia, is “the way that technologies have been used to extend dramas onto multiple media outlet… that are capable of providing different kinds of entertainment in their own right”. (Evans, EJ. 2008, p198)
  • Cognitive psychological ability plays a part in transmedia storytelling! A great example is a child’s film, however adults can also enjoy it with hidden media language.

 

  • Producers can be very profit driven and abuse the transmedia platforms through their intellectual property and branding. Sometimes it can become about the money more than the audiences’ enjoyment of the narrative world.

 

When discussing transmedia and convergence culture it is impossible to discuss audience, the consumers, without discussing the producers, the creators.

“Media companies are learning how to accelerate the flow of media content across delivery channels to expand revenue opportunities, broaden markets, and reinforce viewer commitments”.(Jenkins, 2006)  Increasingly, media industries are being forced to create worlds and transmedia opportunities for their franchises and audiences are expecting that media franchises span many platforms. The “singular” experience is a dying thing, we no longer just read a book – we see the movie based on the book, buy the backpack, visit the site to see which character we are most like via a quiz and talk about it on the Facebook page. The Avengers is an enormous example of media producers, like Marvel, harnessing transmedia to enormous advantage. Henry Jenkins, an expert in transmedia, has even said that Marvel, “(has) brought the concept of a shared universe to the mainstream in a way that no other film company has”. I will be discussing The Avengers and the role of the Marvel producers in the enormous success of the franchise thanks to transmedia in the framework of Henry Jenkins’ statement:

“Industry insiders use the term “extension” to refer to their efforts to expand the potential markets by moving content across different delivery systems, “synergy” to refer the economic opportunities represented by their ability to own and control all of those manifestations, and “franchise” to refer to their coordinated effort to brand and market fictional content under these new conditions. Extensions, synergy and franchising are pushing media industries to embrace convergence”. (Jenkins, 2006) 

When Jenkins uses the word “extension”, what he is really discussing is media across various platforms. The key to extension in The Avengers, is the audience it has created has never before existed. Before the reboot of ‘The Avengers’ franchise, the Marvel universe existed almost exclusively for the comic book nerds. Now Marvel’s ‘Avengers’ commands a diverse and international audience.

The market now caters for all kinds of fans. The comics still exist for the die-hard “purist” fans, both old and new, the television show “Agents of S.H.I.E.L.D” exists for fans who enjoyed the movies and want to watch more, internet content exists for the lighter fan and the movies are for everyone in all of these categories PLUS the rest of the non-Avenger fan world. If “transmedia storytelling is the art of world making”, (Jenkins, 2006) then Marvel truly succeeded in that respect.

“To fully experience any fictional world, consumers must assume the role of hunters and gatherers, chasing down bits of the story across media channels, comparing notes with each other via online discussion groups, and collaborating to ensure that everyone who invests time and effort will come away with a satisfying entertainment experience”. (Jenkins, 2006) 

Academic Elizabeth Evans is sceptical about the word ‘interactivity’ and quotes Kerr to the end that interactivity, “must be regarded as a political, rather than a descriptive term, as it is used by many new media advocates to emphasise the user’s control over the medium while de-emphasising the medium’s control over the user”. (Kerr et al in Evans, EJ. 2008, p 200) In other words, ‘interactive’ is really just marketing propaganda as all the potential outcomes have already been decided in advance. Certainly true of the Avengers “interactive” website and game, that involves clicking on highlighted parts of an extended trailer for the film.

However, Roland Barthes said that it is the audience, not the author who create meaning, Evans suggests that given the ‘myth of interactivity’, the audiences’ power comes from interpreting the text, instead of being able to physically tamper with the plot or the characters.

Large scale, West Coast transmedia projects, like the Avengers and the wider Marvel Franchise, have extremely vocal and demanding fan bases. These fan bases must, through sheer force of will and expectation, have an impact on the final iterations of transmedia storytelling. In other words, the creators, in fear of potential audience reaction, must work within the diegetic world of the characters and not stray too far from established conventions and expectations.

In support of this point, Justin Lewis says, “the power to produce meaning lies nor within the TV message or within the viewer, but in the interaction between the two”. (Lewis, in Evans. 1991, p58)

Jonah Weiland, executive producer at ComicBookResources.com, said of Kevin Feige, producer of Thor, X-Men and The Avengers, “Kevin actually knows what we want. Other studios that make superhero movies often ignore the essence of the character”.

Paying attention to the ‘essence of the character’ can be especially important when “one critical blog post can create an online brush fire”. (New York Times)

Evans says that “characters are a central, if not the central point of engagement for an audience” (Evans. 2008, p203) and quotes someone from a focus group, ‘I can forgive a lot of problems with the plot if I like certain characters and enjoy them’.

 REFERENCES: 

Ben Moore 2013, 5 Avengers Comic Book Stories to Read Before Seeing ‘The Avengers’ Movie, Screen Rant, 18/3/14 <http://screenrant.com/avengers-comic-book-stories-movie-benm-166878/>

Black, JB 2012, ‘Avengers Assemble! The five movies that lead to The Avengers,’ The Washington Times, 3rd, May, 18/3/14, <http://communities.washingtontimes.com/neighborhood/movies-toto/2012/may/3/getting-caught-avengers-video/>

Scolari, C A 2009, ‘Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Productions,’ Journal of Communication, vol 3, viewed 18/3/2014. <ijoc.org/index.php/ijoc/article/download/477/336‎>

Scott Harris, 2012, ‘The Avengers:’ 8 Things You May Have Missed the First Time Around, discusses moments during film that the audience may not have picked up on, 25th of September, 18/3/14 <http://www.nextmovie.com/blog/avengers-movie-easter-eggs/>

week 5 in reivew

The plan for the workshops this week was to spend the half discussing one or two of your research tasks and the insights you have gleaned – and the second half having production group meets and 20 minute consults with your tutor. In the middle there we wanted to clarify expectations around the assignment and the week 8 presentations.

Apologies for this late weekly round-up and again to my (Kyla’s) classes – I’ve been unwell this week. Hopefully you have been checking out some of the research tasks that have been uploaded to the blog and had a productive production group meetings this week. Some groups have sent me conceptual outlines for their projects and I’m excited by the quality and potential of the ideas taking shape …

Just a few notes about where we are in the ‘narrative’ of PP1.14 …

Weeks 5 – 8 represent the PHASE 2 of the course during which you will produce Project Iteration#1. The focus of this phase is on making and practice-based learning (so no more reading). While you are not required to keep a blog/journal for this period – we highly recommend you do. At the end of semester you will be expected to discuss details of what you learnt/experiences during this period – with reference to examples (see Task#3 outline for details). Keeping a public or private journal (in any media) of your reflections on this production period will undoubtably improve the quality, originality, accuracy and authenticity of the insights and knowledge you can draw on and discuss…

Your immediate challenge is looking down the barrel of having roughly 4 weeks (including easter break) to come up with a working copy of the transmedia project.

The expectation is that your draft project includes:

  • Four (minimum) distinct media platforms/spaces/elements – full draft or rough-cuts – not an outline or a storyboard or a holding page – but the actual media
  • A working project structure and migratory cues and pathways connecting platforms/elements.
  • Basic visual design elements – the draft shows the ‘look and feel’ of your project/world

You’ll also need to prepare a short (3minute) project presentation (3-4 slides max). This should tell us:

  • inspiring story and your interpretation of it
  • your core theme and controlling idea
  • your project map indicating the platforms used and how they connect.

DEADLINES:
You must deliver the group’s single project URL to Kyla via Blackbaord email by 5pm Wednesday April 30, 2014. At 5:01 on the dot I will send the delivered URL’s to our industry consultant, Jim Shomos (he’ll have something like 48 hours to go through them in detail). Later that night I’ll put all the URL’s (including any stragglers delivered after 5pm) up on the blog so you guys can check each others projects out ahead of the presentation.

If you can deliver your presentation slides at the same time as the project URL that would be helpful – but if it is too difficult just bring it in on a thumb drive on the day of the presentation.

WEEK 8 PROJECT PRESENTATIONS:

So, between 4:30-6:30pm on Friday May 2, 2014 we will use our scheduled lecture period for the first time this semester. Please get there on time.

(I’ll have all submitted presentation slides loaded up on my computer to save time fluffing with the technology – but if you are brining yours in on a stick -please seek me out at the beginning of the session)

We’ll have 11 projects to get through in this session – time will be tight – so if all groups deliver on time that means 10 minutes per project (we’ll have more time for each project if any groups deliver their URLs late). It will basically run; 1 or 2 group members will take centre stage and run us through the 3 minute presentation (I’ll cue the slides) and Jim will provide 7 minutes of considered comments, feedback and suggestions… It will be an intense session – and I recommend you all go out together afterwards to celebrate getting past this milestone….

So, this is what we are going to be working towards in the workshops in the next few weeks – hold onto your hats – it will be a fast and furious period of making!

Plan for next weeks workshop up on Blackboard.