Siobhan O'Flynn's 1001 Tales http://1001tales.posterous.com tracing the roots & tendrils of storytelling today posterous.com Sun, 13 Mar 2011 20:08:00 -0700 Frank Rose on Legacy of Tron: Theme Parks, ARGs and the Ever-Shifting Art of Immersion | Underwire http://1001tales.posterous.com/frank-rose-on-legacy-of-tron-theme-parks-args http://1001tales.posterous.com/frank-rose-on-legacy-of-tron-theme-parks-args
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Decades before anyone thought to create an alternate reality game, Walt Disney invented the theme park. Disneyland and its successors — Walt Disney World, Universal Studios Hollywood and their clones — were conceived as narrative architecture, purpose-built to provide an immersive entertainment experience....

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Sun, 13 Mar 2011 14:23:00 -0700 Q&A with Frank Rose on ‘The Art of Immersion’ | Interview on JWT Intelligence #transmedia http://1001tales.posterous.com/qa-with-frank-rose-on-the-art-of-immersion-in http://1001tales.posterous.com/qa-with-frank-rose-on-the-art-of-immersion-in

A contributing editor at Wired, Frank Rose is the author of a new book, The Art of Immersion: How the Digital Generation Is Remaking Hollywood, Madison Avenue, and the Way We Tell Stories. Rose explores how the Internet is transforming storytelling and talks to creative minds who are “rethinking the ancient art of narrative for a two-way world.” He calls their efforts “deep media,” defined as “stories that are not just entertaining but immersive, that take you deeper than an hour-long TV drama or a two-hour movie or a 30-second spot will permit.” Most “deep media” content could also be termed transmedia, a topic we explore in a new trend report, “Transmedia Rising.” Attendees of SXSW Interactive can catch Rose on two panels; he’s also participating in the MediaGuardian Changing Media Summit in London later this month.

What’s your elevator pitch for this book?

Essentially, that the influence of the Internet is changing stories—by which I mean movies, television shows, games, advertisements, any number of ways that stories can be told. It’s changing them in a way that is making them immersive above all, but also non-linear, because the Web itself is non-linear. That’s making it somewhat game-like and certainly very participatory. In other words, no more passive viewing. It means taking a much more active role.

And what’s driving all this is the emergence of a type of media that’s participatory, that is the opposite of the mass media we’ve known for pretty much all of the 20th century. What you’ve seen in the past 10 years or so is the emergence of social media, of any number of other things online that’s, first off, giving pretty much everybody a voice that wants it and is at the same time influencing how stories are told on television and in other media.

Read Marian Berelowitz' full interview with Frank Rose on jwtintelligence.com

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Sun, 30 Jan 2011 06:15:00 -0800 Grazie Henry Jenkins!: "Deep Media," Transmedia, What's the Difference?: An Interview with Frank Rose (Part Two) http://1001tales.posterous.com/grazie-henry-jenkins-deep-media-transmedia-wh-0 http://1001tales.posterous.com/grazie-henry-jenkins-deep-media-transmedia-wh-0
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Excerpt from the Jan. 28, 2011 interview:

HJ: "You draw a range of comparisons here to older, even pre-20th century forms of storytelling -- from Daniel Dafoe to Charles Dickens. What continuities and changes do you see between deep media and older forms of serialized fictions?

FR: That's a question I became increasingly intrigued with as I worked on the book. Collective entertainment may be new, but there's nothing new about entertainment that's participatory and immersive. In fact, every new medium from the printing press on has been considered dangerously immersive at first. TV, movies, books--Don Quixote went tilting at windmills because he'd lost his mind from reading too much. And in order to gain acceptance, each new medium has tried to pass itself off at first as something familiar. In his preface to Robinson Crusoe, which is generally considered the first novel in the English language, Defoe declared the entire story to be fact. Fiction was considered an inferior branch of history that had the glaring defect of not being true, so when Robinson Crusoe came out in 1719, it had to be passed off as autobiography. Nearly a hundred years passed before the novel became a generally accepted literary form in England. And then when Dickens came along in the 1830s and his publishers started putting out his novels in monthly installments, critics decried that as dangerously immersive. Bad enough that people were reading novels when they could have been engaged in social pursuits, like conversation or backgammon--but now they were going to be losing themselves in a fictional world for months on end.
But the really remarkable thing about Dickens was the way he communed with his readers. That was something serial publication made possible--and serial publication was purely a product of technology. Better printing presses, cheaper paper, trains that could deliver things reliably, rapidly growing cities with a lot more people who could read. Few of these people could afford to purchase entire books, but they could pay for short installments. An unanticipated result of this was that when books were published over a period of 19 or 20 months, readers had a chance to have their say with the author while the novel was still being written. And Dickens relished this. He took note of their comments and suggestions, and he loved interacting with them on the lecture circuit as well. One of his biographers described it as "a sense of immediate audience participation...."

Read the full interview on Henry Jenkins' blog:

http://henryjenkins.org/2011/01/deep_media_transmedia_whats_th_1.html

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Sun, 30 Jan 2011 06:12:00 -0800 Grazie Henry Jenkins!: "Deep Media," Transmedia, What's the Difference?: An Interview with Frank Rose (Part One) http://1001tales.posterous.com/grazie-henry-jenkins-deep-media-transmedia-wh http://1001tales.posterous.com/grazie-henry-jenkins-deep-media-transmedia-wh
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Excerpt from the Jan. 26, 2011 interview:

HJ: "You write in the book about what you call "deep media." What do you see as the core characteristics of deep media? How do you see your concept relating to others being deployed right now such as transmedia or crossmedia?

FR: To me it's mainly a question of emphasis. Are we focusing on the process or the goal? Transmedia, or crossmedia, puts the emphasis on a new process of storytelling: How do you tell a story across a variety of different media? Deep media puts the focus on the goal: To enable members of the audience (for want of a better term) to delve into a story at any level of depth they like, to immerse themselves in it. Not that this was fully thought out when I started--the term was suggested by a friend in late 2008 as a name for my blog, and when I looked it up online I saw that it had been used by people like Nigel Hollis, the chief analyst at Millward Brown, so I adopted it.
That said, I think the terms are more or less interchangeable. I certainly subscribe to the seven core concepts of transmedia as you've laid them out. I also think we're at an incredibly transitional point in our culture, and terms like "deep media" and "transmedia" are needed to describe a still-evolving way of telling stories. I wouldn't be entirely surprised if both terms disappeared in 15-20 years as this form of storytelling becomes ubiquitous and ultimately taken for granted...."

Read the full interview on Henry Jenkins' blog:

http://henryjenkins.org/2011/01/deep_media_transmedia_whats_th.html

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