Week 6 - Transmedia Storytelling

Transmedia Storytelling

“The Shortest Distance Between Two People Is a Story” (Jeff Gomez, 2011, para 1).
The concept of Transmedia storytelling can be seen as a fictional property. There are several ways to describe this concept. Because the concept was introduced by Henry Jenkins (2003) his definition is highly relevant (Scolari, 2009). Jenkins described Transmedia as ”a process where integral elements of a fiction get dispersed systematically across multiple deliver channels for the purpose of creating a unified and coordinated entertainment experience” (Jenkins, 2010, para 2). Similarly, it can be described as a process where specific information of a story spreads over a range of different media platforms where distinctive elements emerge in multiple places. In a basic way, transmedia storytelling is a narrative story that develops throughout different forms of media such as cinema, television, video games and comic books (Scolari, 2009). Each medium contributes and enriches the story in different ways.

The picture below illustrates a mind map of transmedia storytelling. 

“A Successful story is told in a deep, rich, fictional world that has defined the past, present, and the future” (Gomez, 2012, para 12).

The Harry Potter novels written by the Author J.K Rowling is a successful example of transmedia storytelling (Scolari, 2009). The story takes place in a world of wizards where Harry Potter and his friends fight the evil powers of the dark wizard Lord Voldemort (Grandpre, 2007). Jenkins (2007) clarifies that a transmedia story is based upon the fictional world, rather than the characters. Furthermore, in order to franchise the story into different media sectors, the franchise entry has to be “self-contained” to establish an independent utilization (Jenkins, 2007, para 10). Therefore, if the origin of the story was introduced as a novel and franchises into a movie, the movie has to introduce significant information of the novel for consumers to comprehend the movie without reading the novel in order to engage in the universe (Scolari, 2009).

Harry Potter has become successful in transmedia storytelling due to the narrative universe, which has franchised throughout seven novels, seven fiction films, several video games, e- books and a web page called ‘Pottermore’ (Usagi, 2011). This makes it possible for consumers to stream different media channels to gain information in order to enrich their understanding of the Harry Potter universe. This is what Jenkins (2007, para 3) explains as the “process of world-building”. Consumers and writers are interested in the possible knowledge out there, which can expand their understanding of a specific universe (Jenkins, 2007). There is not one medium, which consumers can utilize in order to obtain all the information needed to grasp the universe of Harry Potter (Jenkins, 2007).

The narrative novels of Harry Potter expanded successfully throughout media channels and merchandise, which has established several ways for multiple audience segments to enter the universe of Harry Potter (Jenkins, 2007). The video below presents a diverse range of brand extensions of the Harry Potter universe and an extreme example of how consumers can engage with the universe through various media channels and merchandise.

 
Transmedia and business opportunities

There is indeed a link between new technology, transmedia storytelling and new business opportunities in the media market, as consumers learn how to comprehend the flow of stories and become more encouraged to search for information from multiple media sources to gain more knowledge about the fictional worlds (Scolari, 2009). There are several benefits of transmedia storytelling. Scolari (2009) explains how companies in different business sectors can exploit their intellectual properties through different channels, which increases the financial aspects of the brand or the specific property. In the marketing world, media platforms can promote the story around a specific brand or product (Thompson, 2010). As a result, marketers can create an emotional connection and long-term engagement with the consumers by building the existing stories around a brand or product (Thompson, 2010).

“Everywhere we look, stories are breaking the limits imposed by print and film and video.” (JWT, 2011, p.5)

To conclude, content is turning transmedia therefore, companies in relevant industries such as the entertainment industry should take advantage of different media channels. Transmedia has provided growth in the integrated marketing sector where the goal is to utilize different channels to communicate different things and at the same time maintain the brand community in focus (JWT, 2011). The web has cultivated an active culture among consumers and fans, which makes the Web an important resource for the business industry. Transmedia involves components which actively engage consumers and audiences in the story (JWT, 2011). A good example of this is how Droga5 marketed the autobiography of the rapper and music producer “Jay- Z” (Hartman, 2011). The marketing campaign for the autobiography “Decoded” turned into a treasure hunt (Hartman, 2011). The book was written in order for the fans to decode eleven of Jay-Z’s songs to reveal details about the rappers personal life (Hartman, 2011).
The picture below is one of the advertising ventures by bing.  

The campaign utilized several media channels such as social media platforms, iPhone applications and billboards and in order to tell a story and at the same time, involve consumers and fans (Hartman, 2011). In addition to this, the audience could win two tickets to watch a Jay-Z concert anywhere in the world. The video below presents how the story of Jay-Z was distributed over several media channels. It is clearl that lines between the offline and online media platforms are blurring, as consumers make no difference between them (JWT, 2011).

References

Gomez, J. (2010). Jeff Gomez Reveals Secrets to Transmedia Franchise Development at CineKid. Wired Magazine. http://www.wired.com/magazine/2010/11/jeff-gomez-reveals-secrets-to-transmedia-franchise-development-at-cinekid/

Grandpre, M. (2007). Harry Potter Scholastic. Retrieved from: http://harrypotter.scholastic.com/sorcerers_stone/

Hartman, J. (2011). Jay- Z Launces “Decoded”. Retrieved from: http://www.transmediaproducer.org/jay-z-launches-decoded

Jenkins, H. (2003). Transmedia Storytelling. MIT. Retrieved from: http://www.technologyreview.com/biomedicine/13052/page2/

Jenkins, H. (2007). Transmedia Storytelling 101. Retrieved from: http://www.henryjenkins.org/2007/03/transmedia_storytelling_101.html

Jenkins, H. (2010). Transmedia Storytelling and Entertainment: An annotated Syllabus. Continuum: Journal of Media & Cultural Studies, 24 (6), 943-958. DOI: 10.1080/10304312.2010.510599

JWT. (2011). Transmedia Rising. Retrieved from: http://www.wpp.com/wpp/marketing/media/transmedia-rising.htm

Scolari, A, S. (2009). Transmedia Storytelling: Implicit consumers, Narrative worlds, and Branding in Contemporary Media Production. University of Vic. International Journal of Communication 3 (2009), 586-606. DOI: 1932-8036/20090586

Thompson, B. (2010). Types of Transmedia: Franchise, Marketing & Native. Retrieved from: http://www.giantmice.com/archives/2010/06/types-of-transmedia-franchise-marketing-native/

Usagi (2011). Harry Potter and the Transmedia Pottermore. Retrieved from: The Rabbit Hole. Retrieved from: http://peterusagi.com/2011/08/05/harry-potter-and-the-transmedia-pot-of-more/