Traditional storytelling using one particular medium may soon be overtaken by transmedia storytelling which Henry Jenkins defines 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. Ideally, each medium makes it own unique contribution to the unfolding of the story.”
To learn more about the subject, check out Creating Content in the Film, Television and Digital Worlds, a 2-day $210 workshop in Banff Nov 26-27 presented by AMPIA (Alberta Motion Picture Industry Association) in partnership with Digital Alberta (cost includes shared accommodations at the Banff Centre of the Arts). According to the description, “Narrative story telling has many platforms to engage audiences – film, television, online, mobile, gaming and social networks. This event will bring together content creators, producers, service providers, technologists and story tellers. Topics will address understanding the landscapes and how to navigate the terrains for both the digital media and film and television industries; legal issues around intellectual property and copyright laws, and fund-development strategies from both the public and private sector. Attendees will learn from case studies on interactive content and multi-platform media delivery channels as well as connect through “speed-dating” for creative and business collaboration.”
For background info and fascinating examples, watch Lance Weiler’s Transmedia Keynote Presentation that he gave at the 2010 Darklight Festival in Ireland:
Resources that Lance includes at the end of his presentation are also worth checking out: (1) The WorkBook Project, an open creative network for “those who want to be creative in the digital age”; (2) The Pixel Report, a website “devoted to showcasing new forms of storytelling, film-making and cross-media business development that is in tune with an audience-centred digital era”; and (3) You Suck at Transmedia which aims “to progress the state of art of transmedia” by “sharing war stories, fun and sincere reflections, and stuff we find frustrating and downright bad.”
What is the future of short films in this developing world of transmedia? Or the future of film festivals within this new audience consumption model of “where I want it, when I want it, how I want it”? And how will anyone’s work get noticed at a time when attention has become the new currency? I don’t have the answers but, if anyone would like to add their thoughts on the matter, please do so.
