henry jenkins' transmedia storytelling pdf

henry jenkins' transmedia storytelling pdf


You can also get even more out of the wizarding world by subscribing to ‘Wizarding World Gold’. Pep has made several animated videos using scenes or excerpts from Jurassic Park. According to Henry Jenkins, "transmedia" per se means "across media", [2]. He is also a Star Wars fan, a proam tennis player and a fanatic of the Libanese salad. Fortunately, an expanded form of education is starting to emerge. Pep thus takes three media sources and converges them into a new one: the "Angry German Kid" video, Super Mario Bros and a porn film. Along with this industry aspect, this situation poses many questions: why do people have such a strong urge to tell their stories at this particular moment in history? %PDF-1.6 %���� It also allows fans to experience the story in new ways. By registering with the site, the audience gains access to news, features and articles as well as new and unreleased writing from J.K Rowling herself. Participatory culture is a global phenomenon. In the current educational system in Spain, only a few Language and Literature teaching units analyze the media. Pep is 13 years old, he lives in Tarragona, Catalonia, and is in his second year of secondary school. Is Corporate Social Responsibility Enough? Fan fiction such as fan made videos (e.g. Convergence occurs within the brains of individual consumers and through their social interactions with others.

Suddenly, one of his cousins goes up to him and asks «What are you doing, Pep?» and he answers easily: «peeling a mandarin». SPREADABILITY VS. DRILLABILITY Spreadabliity: Stories are spread through fan's interactions that actively engage in the distribution of the material through their social network sites. And this is why it's important to realize that we have to keep learning, together, to read and write audiovisually instead of taking it for granted that the millions of Euros the Spanish government is spending on putting computers in classrooms is automatically going to fix the problem. At one end sits the grandfather. This online and interactive world is an extension to the original stories, and expands fan’s knowledge, and understanding of the original story. Transmedia storytelling represents 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. From these releases, a whole array of new transmedia story telling began, and has allowed fans to interact with each other and the story across multiple platforms. There is increasing talk of Education 2.0 and ICT (Information and Communication Technologies) but the politicians in charge of Education have paradoxically failed to notice that digital and audiovisual literacy is, to paraphrase author and academic Gutierrez-Martín, more than just a mouse and a keyboard. It is not only the specialist press that considers videogames to be the future-present of audiovisual narrative, given their capacity to integrate different stories in different media. ), Rewriting the History of Television: An Interview with Doron Galili (Part Three), Covid-19, Participatory Culture, and the Challenges of Misinformation and Disinformation, Rewriting the History of Television: An Interview with Doron Galili (Part Two), Rewriting the History of Television: An Interview with Doron Galili (Part One), Making Meaning of the Meanings We Make Online: An Interview with Robert Kozinets (Part Four). All the quotes interwoven into this text are from Convergence Culture(2006), the book in which Henry Jenkins coins the term "transmedia storytelling" and insightfully describes the changes that are taking place in the way we communicate, think, read, etc. hޜ�Mj�0ૼdd��2�@�E���Lj"J6��dHo_نv�:ƛ�y#>% �y�5J(Yc����.A��~����c� ��,������t0�6�v���9�b��e�]�.E��LM�ݫ�,O�V��%�0y����{��v7�&�����F߇��(���'�,�R�i*筤���t���_��j���g@�X�V���P/�k����?�� �h�� Foundational Works. Jenkins 2003 is considered the first significant discussion of the movement of characters and story worlds across platforms that grew into his recognition of transmedia storytelling as a distinct form. The Media Studies subjects that used to be in the secondary and upper secondary school syllabus are no longer taught. Each medium makes its own unique contribution to the unfolding of the story. ARG's (alternative reality games) are generating "players who feel more capable, more confident, more expressive, more engaged and more connected in their everyday lives". Since then, some of his small creations are linked to this. Young people all over the world are embracing the expressive and distribution resources of the computer to create and share their own cultural materials with each other. how can education open up in order to integrate children's need to be audiovisual "prosumers" (producer+consumer)? He has also discovered Game Maker, a simple program that allows him to design his own videogames. Unfortunately, the mammoth audiovisual industry sees this as illegal divergence rather than cultural convergence. endstream endobj 323 0 obj <>stream In an information society, children play with information. He loves dinosaurs, videogames and watching videos on You Tube. What he is doing without realizing it is reinventing everyday life. In the afternoons, he goes to his theatre group. This is why we have to talk about the stories that we are passionate about, not business models. “Transmedia play” (Herr-Stephenson and Alper 2013), another transmedia logic, is a related hބ�� Gil is justly proud of the range of different kinds of media productions this young man engages with in the course of his everyday life, and has sought ways to place them in a larger context. After the original books and films finished, the online site gave fans more of what they love. This is why we have to defend the remix as a cultural ecosystem. There are a variety of interactive games and quizzes that have enabled fans to test their knowledge about the story, and about certain characters. The concept of Continuity and Multiplicity, discussed by Henry Jenkins, is also relevant here, because many franchises seek to construct a strong sense of continuity within the fictional worlds. Which of these elements is ex- ... Jenkins, Henry - Convergence_Culture.pdf Author: MS Created Date: The curious thing about this video is that most people thought it was made by the boy's father, who wanted to capture his son's rage as he played computer games... but it turned out to be a satire by a kid who was probably much more intelligent than the millions of viewers who laughed at his supposed antics (for an analysis in Spanish, see Soitu.es "El niño loco alemán: la verdad tras el mito".). Harry Potter started out as a book series released by J.K Rowling in 1997, followed by the first Harry Potter movie, which was released in 2001. For the Purpose of this task I have written about ‘Pottermore’, which is the the digital publishing, entertainment and news company from J.K Rowling. I am delighted to reproduce this blog post, originally written in Spanish, here for my readers in hopes that it may spark other international reactions around these important topics. Happy to be in the mix with two other authors @, Soitu.es "El niño loco alemán: la verdad tras el mito". When will it be set down that a film's users can remix it to their heart's content? The idea of ‘spreadability vs drillability’ fits well, because it encourages the audience to dig deeper into the story to discover more about the Harry Potter world. Since he was little, he has been fascinated by any audiovisual gadget that has come his way, using all of them to do what his generation is best at: play. It's Christmas. The Internet has boosted social intelligence, with its main premise being to generate specific-interest communities. Each one of us constructs our own personal mythology from bits and fragments of information extracted from the media flow and transformed into resources through which we make sense of our everyday life. A family is gathered around a large table set for sixteen. Therefore, for this task I decided that I would look into how the franchise Harry Potter uses transmedia storytelling. The expert paradigm requires a bounded body of knowledge, which an individual can master. can we develop a public dynamic for audiovisual culture that makes it legal to do what Pep has done, and encourages it? You probably know somebody like him.
The difference between our time and other moments in history is that Pep is not alone. We are the Transmedia generation.

In a hunting society, children play with bows and arrows. In every country, it is different. For my narrative assessment the use of transmedia wouldn’t be suitable. In countries all over the planet, they are mixing together local traditions of folk culture with the now globally accessible forms of digital expression in ways which could not have been imagined by previous generations. h��Zmo�6�+�qL߁�@��h���Z�x���.lwC���(Q���H��u��P��r<>G>G���Ly&4g�'&�d�0B3-���0�p��I���0%=0m�R�3�2���LY�6U�pf�Hx|&Q��f�»eFP�c����8��xŴ�;�i�œD=�eN�똳{��C��3oP]@)��� ��^x�X&8w�g-8��'*����P�F� �8yfN�*$���C����$!�ñ�9�U�x�!�M���HN��@EI���Z m�p��~O��^�7����v��������'��r].
He soon grasped that moving images are actually the illusion of movement created when there is a rapid succession of still images. In every country, it is the same. Therefore, for this task I decided that I would look into how the franchise Harry Potter uses transmedia storytelling. Henry Jenkins (2006) has extended Kinder’s work particularly through his discussion of one such logic, “transmedia storytelling,” whereby elements of a story develop across multiple media platforms to constitute a larger story world. For example, the wizarding world app allows the audience to discover ‘new surprises’ and ‘fresh features’. A transmedia New-media theorist Janet Murray has written of the "encyclopaedic capacity" of digital media, which she thinks will lead to new narrative forms as audiences seek information beyond the limits of the individual story. In particular, he wanted me to read this account of his young cousin, whose filmmaking activities he had come to understand in relation to some of my writings. Given this whole process, there is an inevitable question: what drives Pep to do it? endstream endobj 324 0 obj <>stream One of the first videos he uploaded is «a remix of the popular "Angry German Kid" video». And Spore has something in common with The Sims and Sim City: it is an alternative reality game. (...) "A good immersive game will show you game patterns in non-game places". I was delighted to hear recently from a young scholar, Felipe G. Gil, from Sevilla, Spain, who shared with me some of his thoughts about new media literacy and education. At the other, one of his grandkids, Pep. In Spore, you have the choice of progressing in one of two ways: by cooperating with, or attacking, other civilisations. 'V�%��!�*�K3a�*�ĴA6d ������y"|�� ��t� Transmedia storytelling is inextricably linked to scholar Henry Jenkins. Henry Jenkins Convergence culture where old and new media collide It also encourages a brand-new audience that may have not always been interested in the books, but have watched the films. Harry Potter Puppet pals on YouTube), Social media fan groups (including the sharing of memes), Harry Potter World at Universal Studios in Florida, You can follow the lives of Harry, Ron and Hermione by enrolling online as a Hogwarts student, Discover what Hogwarts house you are likely to have been put in, Discover your ‘Patronus Charm’ by taking a ‘one time’ interactive quiz, Stay up to date with the latest news within the world. Henry Jenkins' 7 Principles of Transmedia Storytelling 1. Play is one of the ways we learn, and during a period of reskilling and reorientation, such play may be much more important than it seems at first glance. More and more literacy experts are recognizing that enacting, reciting, and appropriating elements from preexisting stories is a valuable and organic part of the process by which children develop cultural literacy. The power of participation comes not from destroying commercial culture but from writing over it, modding it, amending it, expanding it, adding greater diversity of perspective, and then recirculating it, feeding it back into the mainstream media.

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