A new storytelling form is emerging and even Hollywood noticed!

Transmedia Storytelling

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Storytelling

Tensions BetweenInternet +

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Storytelling

Tensions BetweenInternet +

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Film Current World +

Storytelling

Tensions BetweenInternet +

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Film Current World +

How can you REALLY explore storytelling using the Internet?

Storytelling

Tensions BetweenInternet +

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Film Current World +

How can you REALLY explore storytelling using the Internet?

What will we call Internet-enabled(IMPOSSIBLE without Internet)storytelling in the future?

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Communication Technologies and Storytelling

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Communication Technologies and Storytelling

Based on: John Hartley (2009), From Cultural Studies to Cultural Science.

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Every communication technology has been adapted for storytelling purposes

Communication Technologies and Storytelling

Based on: John Hartley (2009), From Cultural Studies to Cultural Science.

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SpeechWriting

PrintBroadcast

The History of Storytelling Forms

Oral Storytelling / PoetryTheatre / LiteratureScience / Novel / JournalismFilm / Radio / TV

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SpeechWriting

PrintBroadcast

The History of Storytelling Forms

Oral Storytelling / PoetryTheatre / LiteratureScience / Novel / JournalismFilm / Radio / TV

Constant Contention

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Evolution and Storytelling

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VariationSelection

Evolution and Storytelling

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VariationSelection

Evolution and Storytelling

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Exploration

VariationSelection

Evolution and Storytelling

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ExplorationTime Lag

VariationSelection

Evolution and Storytelling

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Exploration

Repetition

Time Lag

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The Difference of the Internet

Communication Technology Internet

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interactive, cross-media, cross-platform, multi-platform, integrated, 360 degree

Terms of Practice

storytelling, narrative, game, entertainment, programming, experience, extension,

communication

with

Any combination of

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TransmedialityTransmedia Storytelling

ParatextualityScreen Bleed

Terms of Theory

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The Term of Woi

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Transmedia Entertainment

The Term of Woi

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Transmedia Entertainment

The Term of Woibased on transmedia storytelling

adds focus on mass audiencescombines incorporated paratexts with their text

adds real life aspects adds pervasiveness / ubiquity

combines story and play10 Woitek Konzal

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Woi’s PhD

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Entertainment Architecture (EA)

Woi’s PhD

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Entertainment Architect (entarch)

Entertainment Architecture (EA)

Woi’s PhD

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Thanks for being here!

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Balio, T. 1985. Part I: A Novelty Spawns Small Businesses, 1894-1908. In The American Film Industry, ed. T. Balio, 3-25. Madison, Wisconsin: University of Wisconsin Press.Boyd, B. 2009. On the Origin of Stories: Evolution, Cognition, and Fiction. Cambridge, Mass.: Belknap Press of Harvard University Press.Crombie, A. C. 1990. Science, Optics and Music in Medieval and Early Modern Thought. London [England]; Ronceverte, WV, U.S.A.: Hambledon Press.Dena, C. 2009. Transmedia Practice: Theorising the Practice of Expressing a Fictional World across Distinct Media and Environments. Doctor of Philosophy, School of Letters, Art and Media; Department of Media and Communications; Digital Cultures Program, University of Sydney, Sydney.Dutton, D. 2009. The Art Instinct: Beauty, Pleasure, & Human Evolution. New York: Bloomsbury Press.Edgerton, D. 2007. The Shock of the Old: Technology and Global History Since 1900. Oxford; New York: Oxford University Press. Eisenstein, E. L. 1979. The Printing Press as an Agent of Change: Communications and Cultural Transformations in Early Modern Europe. Cambridge [Eng.]; New York: Cambridge University Press.Febvre, L. and H.-J. Martin. 2000. The Coming of the Book: The Impact of Printing 1450 - 1800. Verso classics. London [u.a.]: Verso.Finke, N. 2010. Cameron Talks 'Avatar' Novel & Sequels: Probably Makes #2 And #3 Back-To-Back. http://www.deadline.com/2010/08/jim-cameron-talks-avatar-novel-sequels-probably-make-1-and-2-back-to-back/ (accessed 16.09.2010).Gray, J. 2010. Show Sold Separately: Promos, Spoilers, and Other Media Paratexts. New York: New York University Press.Hanson, M. 2004. The End of Celluloid: Film Futures in the Digital Age. Mies, Switzerland: RotoVision.Hartley, J. 2009a. From Cultural Studies to Cultural Science. Cultural Science 2 (1).Hendricks, G. 1964. Beginnings of the Biograph: The Story of the Invention of the Mutoscope and the Biograph and their Supplying Camera. New York: Beginnings of the American Film.Hendricks, G. 1966. The Kinetoscope: America's First Commercially Successful Motion Picture Exhibitor. New York: Beginnings of the American Film.Herman, D. 2004. Toward a Transmedial Narratology. In Narrative across Media: The Languages of Storytelling, ed. M.-L. Ryan, 1-40. Lincoln: University of Nebraska Press.Herrmann-Pillath, C. 2002. Grundriß der Evolutionsökonomik. Utb. München: Fink.Huizinga, J. 1955. Homo ludens: a study of the play-element in culture. Boston: Beacon Press.Jenkins, H. 2006a. Convergence Culture: Where Old and New Media Collide. New York: New York University Press.Kim, J., E. Lee, T. Thomas and C. Dombrowski. 2009. Storytelling in new media: The case of alternate reality games, 2001-2009. First Monday [Online] 14 (6).Luhmann, N. 1984. Soziale Systeme: Grundriß einer allgemeinen Theorie. Frankfurt am Main: Suhrkamp.Man, J. 2002. Gutenberg: How One Man Remade the World with Words. New York: John Wiley & Sons.Martin, A. and T. Chatfield. 2006. Introduction. In Alternate Reality Games SIG Whitepaper, eds. A. Martin and T. Chatfield: IGDA. http://wiki.igda.org/Alternate_Reality_Games_SIG/Whitepaper/Introduction.McGonigal, J. 2006. This Might Be a Game: Ubiquitous Play and Performance at the Turn of the Twenty-First Century. Doctor of Philosophy, Performance Studies and the Designated Emphasis in Film Studies, University of California, Berkeley, Berkeley.McLuhan, M. 1962. The Gutenberg Galaxy: The Making of Typographic Man. Toronto: University of Toronto Press.Montola, M. 2009. Games and Pervasive Games. In Pervasive Games: Theory and Design, eds. M. Montola, J. Stenros and A. Waern, 7-23. Burlington: Morgan Kaufmann.Örnebring, H. 2007. Alternate reality gaming and convergence culture: The case of Alias. International Journal of Cultural Studies 10 (4):445-462.Producers Guild of America. 2010b. Code of Credits - New Media. http://www.producersguild.org/?page=coc_nm#transmedia (accessed 06.06.2010).Rajewsky, I. 2005. Intermediality, Intertextuality, and Remediation: A Literary Perspective on Intermediality. Intermédialités 6:43-64.

References

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