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Cross media experiences from X factor to Harry Potter
© 2012. Kjetil Sandvik, associate professor, Media, Cognition and
Communication, University of Copenhagen
Cross media communication
• Collaborative interplay between different
media
• Each media playing its specific role and
delivering its part of the overall story
• Putting to play the specific strengths of
each media (the media does what it does
best!)
Cross media communication
• It is about getting through to the user
• It is about giving the user a broader and
richer media experience
• It is about giving the user the possibility to
get engaged and to be involved in the
media experience on different levels and
to various degrees
• It is about giving the user the possibility for
participation and co-creation.
The elements of the media
cirquit (John Fiske 1987)
• the primary text (the movie/tv-series)
• the secondary text (pr/marketing, background material, bonus material: surrounding the primary text)
• the tertiary text (the user’s own texts: are produced on the background of the primary and secondary text)
• Cross media productions (and their new media cirquits) changes this hierarchy
New media cirquits • Cross media production:
• Connects primary, secondary and tertiary texts into one common media text
• Embeds possibilities for participation
• Uses several communication matrixes: • One-to-many (the TV show in itself)
• One-to-one (chats)
• Many-to-many (debate forums, quizzes, games…)
• One-to-one-as-group (communities on e.g. FB)
• Attempt to create a sense of belonging in the user based on identification AND interaction
Convergence culture
• This circulation of media content - across different media systems, competing media economies, and national borders - depends heavily on consumer's active participation.
• Convergence should NOT be understood primarily as a technological process bringing together multiple media functions within the same devices.
• Instead, convergence represents a cultural shift as consumers are encouraged to seek out new information and make connections among dispersed media content.
» Henry Jenkins
Cross media experiences
• Experience through • engagement and identification
• participation
• collaboration
• co-creation
• Two types of cross media experience • Experience + (the augmentation of experience of
one specific media by implementing other media in the communication-structure, e.g. a website to a TV-show)
• Experience universe (interplay between different media: e.g. book, movies, games)
Experience +
X factor
Engagement and identification
• The use of the TV media’s strenghts: ‘Storytelling classic’ to create emotional intensification – A dramatic plot: the contest-format
– The use of classical dramatic agents (most prominent in the first two seasons of the show): the good vs. the bad
– Use of personal and emotionally loaded stories
– Use of emotionally manipulative editing: production of ’magic moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears and more tears…
– Website: augmentary media with a surplus of background materials about participants, their reactions to the judges and so on: extends the possibility for engagement and interaction and introduces a possibility for participation (guestbooks, chats, blogs…)
– Web 2.0: connecting and spreading the experience through the users’ own networks
There can only be one
winner…
10
Engagement and identification
• The use of the TV media’s strenghts: ‘Storytelling classic’ to create emotional intensification – A dramatic plot: the contest-format
– The use of classical dramatic agents (most prominent in the first two seasons of the show): the good vs. the bad
– Use of personal and emotionally loaded stories
– Use of emotionally manipulative editing: production of ’magic moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears and more tears…
– Website: augmentary media with a surplus of background materials about participants, their reactions to the judges and so on: extends the possibility for engagement and interaction and introduces a possibility for participation (guestbooks, chats, blogs…)
– Web 2.0: connecting and spreading the experience through the users’ own networks
The good…
…and the crybaby
…the bad…
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Engagement and identification
• The use of the TV media’s strenghts: ‘Storytelling classic’ to create emotional intensification – A dramatic plot: the contest-format
– The use of classical dramatic agents (most prominent in the first two seasons of the show): the good vs. the bad
– Use of personal and emotionally loaded stories
– Use of emotionally manipulative editing: production of ’magic moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears and more tears…
– Website: augmentary media with a surplus of background materials about participants, their reactions to the judges and so on: extends the possibility for engagement and interaction and introduces a possibility for participation (guestbooks, chats, blogs…)
– Web 2.0: connecting and spreading the experience through the users’ own networks
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The Outsider taking the prize
Engagement and identification
• The use of the TV media’s strenghts: ‘Storytelling classic’ to create emotional intensification – A dramatic plot: the contest-format
– The use of classical dramatic agents (most prominent in the first two seasons of the show): the good vs. the bad
– Use of personal and emotionally loaded stories
– Use of emotionally manipulative editing: production of ’magic moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears and more tears…
– Website: augmentary media with a surplus of background materials about participants, their reactions to the judges and so on: extends the possibility for engagement and interaction and introduces a possibility for participation (guestbooks, chats, blogs…)
– Web 2.0: connecting and spreading the experience through the users’ own networks
Engagement and identification
• The use of the TV media’s strenghts: ‘Storytelling classic’ to create emotional intensification – A dramatic plot: the contest-format
– The use of classical dramatic agents (most prominent in the first two seasons of the show): the good vs. the bad
– Use of personal and emotionally loaded stories
– Use of emotionally manipulative editing: production of ’magic moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears and more tears…
– Website: augmentary media with a surplus of background materials about participants, their reactions to the judges and so on: extends the possibility for engagement and interaction and introduces a possibility for participation (guestbooks, chats, blogs…)
– Web 2.0: connecting and spreading the experience through the users’ own networks
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Engagement and identification
• The use of the TV media’s strenghts: ‘Storytelling classic’ to create emotional intensification – A dramatic plot: the contest-format
– The use of classical dramatic agents (most prominent in the first two seasons of the show): the good vs. the bad
– Use of personal and emotionally loaded stories
– Use of emotionally manipulative editing: production of ’magic moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears and more tears…
– Website: augmentary media with a surplus of background materials about participants, their reactions to the judges and so on: extends the possibility for engagement and interaction and introduces a possibility for participation (guestbooks, chats, blogs…)
– Web 2.0: connecting and spreading the experience through the users’ own networks: RSS-feeds, apps for mobile phone, Facebook profile, Twitter profile.
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Live integration of
social media during
shows
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Second Screen
Engagement and identification
• The use of the TV media’s strenghts: ‘Storytelling classic’ to create emotional intensification – A dramatic plot: the contest-format
– The use of classical dramatic agents (most prominent in the first two seasons of the show): the good vs. the bad
– Use of personal and emotionally loaded stories
– Use of emotionally manipulative editing: production of ’magic moments’ (the Poul Potts-trick!): close-ups, cross-editing, tears, tears and more tears…
– Website: augmentary media with a surplus of background materials about participants, their reactions to the judges and so on: extends the possibility for engagement and interaction and introduces a possibility for participation (guestbooks, chats, blogs…)
– Web 2.0: connecting and spreading the experience through the users’ own networks: RSS-feeds, apps for mobile phone, Facebook profile, Twitter profile.
Storytelling 2.0
- participation
- co-creation
X factor cross media
experience+
Viewers
Website
Updates:
RSS, app,
FB, Twitter
Mobile phone
TV-show
DR blogs
Other media
Live events
Aftenshowet
Other DR
radio and TV
shows
+ Aftenshowet’s and other
DR TV and radio shows’ website Red arrows = participation and co-creation
Backstage
May not be (fully) controlled
X factor is more than just at TV
show • As a media event X-factor transgresses its
boundaries as a stand-alone TV show
• It invites the viewer not just to a TV experience but to become a participant in a collective course of events
• The viewer can get involved, participate and have influence on several levels
• And different media play specific – and coordinated – roles according to their strengths in creating this cross media experience.
Experience universe
Harry Potter
Rich media experience
• The cross-media story about Harry Potter is not told by one single media which the other media relates to in a hierarchical sense.
• Although it all starts with the novels of J.K. Rowlings, the movies based on the novels can be seen quite independent of the novels.
• And the games (primarily) based on the movies, may also be played quite independently.
• As such the cross-media structure of Harry Potter as an experience universe consists of 7 books, 7 movies and 7 games in three interconnected series each dealing with the same narrative across the 3 media – a year in the life of Harry Potter at the Hogwarts school of sorcery.
• The possibility for engagement and
participation is ensured by the
implementation of websites related to each
novel/movie/game.
• The experience is richened by the
existence of websites (J.K. Rowling’s own
Potter-site, various fansites etc.), books
and games relating to the entire Harry
Potter-universe across the 7-year episodic
plot-structure etc.
Rich media experience
User
Harry Potter
and the
Sorcerers
Stone
(book)
Harry Potter
and the
Sorcerers
Stone
(movie)
Harry Potter
and the
Sorcerers
Stone
(game)
Website Website Website
JK
Rowlings
official
website
Fansites, fx
Harry Potter
Fan Zone
Games based on
the entire
universe, e.g.
LEGO Harry
Potter Years 1-4
The entire Harry Potter universe
Book series Game series Film series
Books based
on the entire
universe, e.g.
Quidditch
throuout times
Merchan
-dise
Experience universe
• As a cross-media production Harry Potter produces not just an augmentation of the experience of a specific media.
• It creates an experience universe in which the user is offered a cross media experience in words, moving pictures and interactive action.
• Storytelling classic: novels, movies
• Storytelling 2.0 (participation): computer games, playable merchandise (e.g. LEGO), interactive features on official websites (e.g. jkrowling.com)
• Storytelling 2.0 (co-creation): fan-sites and other forums for users expanding on the HP-universe (e.g. by writing fanfiction)
