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Presentation independent approaches

Presentation independent approaches. Fien Ooms, Daniel Grä β er , Elisavièta Marycheva , Lien De Trogh , Zeena Hakim. Content. Readings Transmedia activism The rise of the action figure Examples LowLifes Bridge the Gulf Conclusion. Readings I.

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Presentation independent approaches

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  1. Presentation independent approaches Fien Ooms, Daniel Gräβer, ElisaviètaMarycheva, Lien De Trogh, Zeena Hakim

  2. Content • Readings • Transmedia activism • The rise of the action figure • Examples • LowLifes • Bridge the Gulf • Conclusion

  3. Readings I Transmedia activism: telling your story across multiple media platforms tocreateeffectivesocial change by Lina Srivastava

  4. Transmedia storytelling storytelling by a number of decentralizedauthors whoshareassetsandcreate content  fordistributionacrossmultipleforms of media. 

  5. Socialchange initiativesshould view storytelling as a necessary component of mission-fulfillment: conveyclearlyandartfully • whatit does • howits does it • whereitswork is most effectiveandnecessary • whytheyshould support effortsto continue or grow the institution’swork.

  6. Transmedia activism Whentransmedia storytelling opens up forsocial change: createaudience awareness andinspire action • challenge in making their content “sticky”  • limitedfunding or distributionchannels • significant resources and expertise  • multiple entry points: opens up avenues fordialogueandprovidesaneducationalexperienceaboutworkable solutions.

  7. Filmmakers 1. Paul Hawken- bookBlessedUnrestinto a film invites social activists tocontributestoriesthatillustratethe book’s “movement of movements” theme — the documentarywillconsistentirely of pieces culledfrom online submissionsandaimstobeat the forefront of collaborativemedia towardssocial change movements.

  8. 2. Gael Garcia Bernal- ResistNetwork invite its audience to contribute stories of change that may end up in the final product or in ancillary media advocating “authentic freedom” from economic inequity and instability. 

  9. 3. Marc Silver-Eye of the Storm encouragesitsaudiencetoexplorewaystofindpeaceamid chaos, bycontributing audio, video, images andwriting, creatingan ever-growingcollectionof user-generated content thatwillbestreamedon web and mobile platforms andwillalsobepart of a real-worldinstallation.

  10. Building your community CharlesLeadbeater: “[y]oudon’tneedanorganization… toachieve large and complex tasks… this is about [community-building to] providecommunitieswith tools, resources, platforms on whichtheycan share.”

  11. (1) a defined, sustainable strategy : business model for co-creation and innovation (2) the attendant resources to create and acquire compelling content and distribute it.

  12. How to do itcheap? “Friend-raising”:engaged audiences are more likely to donate money; an engaged stakeholder is more likely to donate time to create media, wikis, virtual team environments and videoconferencing, to make interactions and collaboration easier

  13. Readings II Fullyarticulated: the rise of the action figuresand the changing face of children’s entertainment by Jason Bainbridge

  14. ’60s: earlyexample of transmedia storytelling • Narrativesbuildaround marketing product ‘TOY’ • For childrenandadults ° Commodity Culture • Commercial andculturalvalue Entertainment industry • Pleasure & fun

  15. Girl toys • Barbie (1959) • Boy toys • G.I. Joe/ Action Man (1963) • He-Man (1982) • Transformers (1983) • Vera Zago (2001, p. 830) • ‘Playing is a method of communication of the impossibleand/or the wants of the person playing’

  16. Marketing template • Toy line • Booklet/Comic book • Animated series • Live action movie

  17. Transmedia storytelling • Action figures as earlyavatars • Prosumption • Autonomousexplorationandcreativity • Media intertexts • World building Jenkins (1998, p.838). ‘The action figurebecomes a metaphorfor the activechild, anactive participant in thatprocess of defininganidentity’

  18. Example | LowLifes by Simon Wood & Robert Pratten

  19. AIM 1 Simple, commercial transmedia story http://youtu.be/lLkGw4xDKu0

  20. AIM 2 Possibility to consume each media independently from any other 3 PERSPECTIVES Detective Larry Hayes Private eye Lauren Ortega Ex-wife Jen Hayes 3 PLATFORMS Book Webisodes Blog posts

  21. Experience • Story • Book – webisode - blog • Real world • San Francisco based • Exploratory content (Wikipedia) • Gaming • QR-codes • ARG • Participation • Forum • Creative Commonslicensing

  22. AIM 3 Enhanced satisfaction with each additional media consumption

  23. AIM 4 Freemium distribution model

  24. The Coalition on Homelessness was formed in 1987 to foster the active participation of homeless and low-income San Francisco residents and front-line staff in the struggle for economic and social justice. The COH works to defend homeless and low-income people from attacks on their rights and their persons, while advocating for permanent solutions to homelessness.

  25. Criticism • No offline content • Individual experience • Connection with charity

  26. EXAmple | Bridge The gulf

  27. Aims of the initiative • Provide forum for ideas & conversations • Support grassroots participation • Partnerships with independent media makers • Educate mainstream media & American citizens http://vimeo.com/19147395

  28. Reach out: Platforms in use • Contribute through website • Get in touch through SNS • Retrieve information through blog http://bridgethegulfproject.org/blog

  29. Funding & Practical Support PRACTICAL SUPPORT FUNDING W.K. Kellogg Foundation The Gulf Coast Fund • The Bay Area Video Coalition: non-profit media arts center • Techsoup: resource technology needs

  30. Conclusion

  31. Transmedia practices … • Can be applied to numerous subjects • Are more than marketing tools • Can facilitate social change and activism

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