Type:Rider & Transmédia | Type:Rider

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Excerpt:

"Type:Rider est-il un projet transmédia?

Le transmédia consiste à déployer un univers sur différents médias/médiums. Chacune des parties est une unité indépendante, mais dont certains des éléments interfèrent avec les autres parties. C'est dans cette complémentarité que naît la richesse de l'expérience transmédia.

On peut faire un parallèle avec le montage soviétique, véritable institution dans l'histoire du cinéma où l'on trouve l'expression « le tout n'est pas la somme des parties mais l'intégration de parties procédant d'un tout qui les précède logiquement, comme une idée à l'origine de leur organisation. » (cf : Effet Koulechov)

On parle souvent de "transmedia storytelling", une narration transmédia exploitée sur différents supports/médias. Celle-ci est souvent composée autour d'une "licence", déclinée sur tous les supports imaginables, entrelacés avec une habilité rarement convaincante. Mais les expériences ne reposent pas toutes sur la narration.

Type:Rider a pour vocation de faire découvrir l'art typographique au plus grand nombre. Pour cela le sujet s'appréhende à travers trois supports distincts: un Jeu Vidéo, une Installation Interactive et un Social Game...."

Transmedia producer Jackie Turnure (Fourth Wall Studios): Podcast: In the History-Makin’ Business | StoryForward Podcast

Podcast: Play in new window | Download

Jackie Turnure

Veteran transmedia producer Jackie Turnure (Fourth Wall Studios) joins J.C. and Steve in this jam-packed episode. Their discussion spans her past Alternate Reality Game projects for LOST, Flash Forward, Salt and more, and leads up to an in-depth conversation about Fourth Wall Studios’ just-released project, Dirty Work and their new transmedia platform, RIDES. Jackie talks about what makes Dirty Work different, and the unique challenges that a transmedia entertainment studio faces.

Subscribe to the StoryForward podcast through this link or via iTunes. Stop by our website where you can find links to contact us with your tips, suggestions, concerns and submissions.

Why The Hunger Games is not Harry Potter, & Why We Should Care « Transmedia Camp 101

Warning: Spoilers – lots & lots of Spoilers from the Trilogy. Don’t read if you don’t want to know.

Have you read it? The Hunger Games? the full series? been on the Facebook Capitol PN or District pages lately? Dipped into the Twitter feed #LookYourBest?

If you have, you may have noticed something really odd. If you’ve read the first book (now in theaters near you &amp; soon to be released in IMAX!), then you know that Katniss Everdeen volunteers to be a tribute to save her sister, Prim, from certain death.</p><p>In the first novel, we see the poverty of District 12, learn about the uprising of the 12 Districts against the Capitol, the ensuing annihilation of District 13, the brutal subjugation of the remaining 12 Districts and the founding of the Hunger Games as a reminder of the destruction that rebellion and civil war lead to.</p><div>Image</div> <p>

In The Hunger Games, Suzanne Collins’ story exemplifies what I have come to see as the moral core of children’s literature, which I have taught roughly twice a year for 10 years now. The power &amp; the truth of children’s lit lies in the valuing of a child’s pov, which in the ‘real’ world, we adults view as immature, naive, ignorant, etc etc, in contrast to the more mature, nuanced &amp; complex understanding adults have as a result of experience and more time spent on earth.

The moral core of good children’s lit is the absolute assertion of the value of the individual relationship against arguments of sacrificing one or many for the greater good. You see this in Huckleberry Finn, where Huck cannot betray the immediacy of his friendship with Jim, even though he believes helping a runaway slave is wrong & will land him in hell. It’s there in The Golden Compass where Lyra always commits to helping those who are being victimized, and she consistently positions herself against the adults in power who kill the weak for the greater good: the children at Bolvangar, Roger… Philip Pullman makes this contrast explicit in Mrs. Coulter’s and Lord Asriel’s complete lack of empathy for those they torture & use respectively.

This moral core is fundamental to Rowling’s Harry Potter series, as Harry, Hermione, Ron & Dumbledore’s Army consistently chose to fight Voldemort’s totalitarian regime. And most importantly, what Rowling makes absolutely clear is that her characters assert their love for one another, and that those bonds exist as an aspect of identity and community that are worth self-sacrifice, as Harry shows us in the final book, but never the sacrifice of others as symbolic or token substitutes.

So, if you’ve only read The Hunger Games, the first novel seems to hew closely to this model. The Hunger Games are an annual sacrifice of two youths for the greater good, Katniss’ volunteering for her sister is a self-sacrifice that saves her sister from experiencing a horrible death played out as spectacle for the entertainment of the Capitol and which the Districts are obligated to witness....

Read my full post here:

A Tale of Two Johns: affecting change through interactivity | i-docs

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Great post from i-docs!

"A Tale of Two Johns: affecting change through interactivity
April 27, 2012Technology
Having recently presented A Tale of Two Johns at i-docs in Bristol we thought we would give a little overview of the project for those who weren’t able to see our presentation. Enjoy and feel free to follow the progress of the project on Twitter by following us @LondonQuest.

The Concept
A Tale of Two Johns is an interactive drama documentary about two men whose lives are turned upside down by the financial crisis in two European cities: London and Paris. The dual narratives will unfold in real time, in the real world and, through the use of multiple media platforms, including web-based film, social media and interactive live events, our audience will become active participants in the drama. By empowering members of the public to shape a story that responds to the global financial crisis, this project will offer a unique insight into where we stand as citizens of Europe...."

Full post here

http://i-docs.org/2012/04/27/a-tale-of-two-johns-affecting-change-through-int...

The Arrglington Jump - Transmedia Hollywood 3 Coverage (Part 1)

Great Summary from April Arrglington

Panel 1: Realigned Work Worlds – Content creators looking beyond Hollywood, Silicon Valley & Madison Avenue for collaborators in the 2.0 space

"On the convergence of the different entertainments communities:

We are entering a period in time where marketing and content are becoming indivisible. This is mainly because the way to get noticed in this saturated market is by making your experience more valuable and content driven. Traditional marketing models are becoming less relevant and efficient, especially now that everything is driven by social media. Besides, there is a new generation of content creators that have come up with new technological tools that allows them to carve their own space in the market. This is why Hollywood, Silicon Valley, and Madison Avenue have been forced to converge. It’s a sign of the cultural shift of our times. Granted, because we are still in a transitional period there are many communication issues between the silos in these spheres. But these are growing pains that are expected to be overcome if there is any hope for an efficient integration of these entertainment communities...."

read the full post here:

http://www.thearrglingtonjump.com/blog/2012/04/24/transmedia-hollywood-3-cove....T5etyKCdCEw.twitter

Very Smart: What if Interactivity is the New Passivity? Jonathan Sterne / McGill University | Flow

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Posted by Jonathan Sterne McGill University on April 9th, 2012

Excerpt:

"...The demand to participate can become coercive, exhausting the very collective faculties it officially celebrates. While interactivity can be imagined as the “like” or “retweet,” it also encompasses the “agree to terms” button. The supposedly democratic call to dialogue and participation can turn sour when people have good reasons and desires to retreat. In his discussion of Melville’s famous story “Bartleby the Scrivener,” John Durham Peters calls this the “cold righteousness of dialogism,” a “moral tyranny” of the call to the other to interact on a subject’s pregiven terms. “Dialogue’s supposed moral nobility can suffocate those who prefer not to play along” (Peters 1999, 159).

The issue here isn’t that we need a pure space from which to critique capitalism—for you as reader and I as writer are always already compromised. It is that we need some occasions for reflection that aren’t simply subsumed under the sign of participation. My colleague Darin Barney has written beautifully on this subject, arguing that any kind of meaningful political—and I would add cultural—judgment requires some assertion of distance, some strategic and temporary disengagement on people’s own terms. This is not to say all participation is bad, any more than it is to say that all consumption was bad in the golden age of mass culture criticism. Neither activity nor passivity are goods in themselves; both have roles to play in culture, politics and personal life...."

Read the full post here:

http://flowtv.org/2012/04/the-new-passivity/