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Teaching Old Brands New Tricks with Transmedia Storytelling (2/2)
The document discusses transmedia storytelling, highlighting its potential to enhance branding through 'world building' and consumer participation. Key concepts include 'negative capability', which invites audience engagement through unanswered questions, and 'migratory cues' that connect various media narratives. The presentation argues for a shift in brand strategy to fully leverage transmedia, acknowledging that while it has been effective in entertainment, its application in regular brands needs further exploration.
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Teaching Old Brands New Tricks with Transmedia Storytelling (2/2)
- 1. Teaching Old Brands NewTricks with Transmedia Storytelling (2/2) Henri Weijo Aalto University, Marketing Dept. Luxus Digital Week, 8.2.2012
- 2. NOTE: I hadto split this presentation into two (and take away some of the graphics) because of Slideshare’s upload limit… sorry. The original was, of course, one presentation.
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- 5. Transmedia storytelling • Transmediachanges the focus of (marketing) planning, the idea of “world building” create a rich brand that can be extended almost indefinitely • “In transmedia each medium does what it does best” (Jenkins, 2006) influences the selection of ”where the story goes next” (e.g.TV vs. games?) • Key ideas: mystery, drillability, spreadability, continuity, immersion, independence of works and subjectivity
- 6. ” A good character can sustain multiple narratives and thus lead to a successful movie franchise. A good ’world’ can sustain multiple characters (and their stories) and thus successfully launch a transmedia franchise.”
- 7. In practice (24) Scolari(2009)
- 8. Two things aboveall • “Negative capability”: strategic gaps in storytelling that entice consumers to participate, speculate on “unanswered questions”, create content etc. (Long, 2007) • “Migratory cues”: (often aesthetic) cues that link different texts together, consumers use them to “navigate” the world (Dineheart, 2008) • Balancing participation and storytelling!
- 9. ”Lost” was masterfulin creating negative capability, some questions were in fact never answered
- 10. “Migratory cues” theMatrix hade unique aesthetics and tonal style
- 11. • Transmedia isnot only about long term big franchises, it can be campaign-based, too • Most marketers are familiar with transmedia through alternate reality games (ARGs, kinda ”transmedia light”) • This is probably the most famous example…
- 14. #1 advantage oftransmedia* • Transmedia allows “tiering”, different levels of consumer particiaption ”real fans” get more engagement opportunities, but you don’t lose the casual fans • Transmedia is really demanding for consumers, almost too demanding *Aside from the business synergy opportunities, that is
- 15. The typical disclaimer: ” The overwhelming majority of these examples are from the entertainment industry. A ’regular’ brand could never have a transmedia strategy!” Or could it?
- 20. As said, alot of ”transmedia practices” have already crept into contemporary marketing communications (as seen during Super Bowl 2012)
- 26. Probably the mostimpressive contemporary (integrated) marketing campaign (that isn’t from the entertainment industry) that featured transmedia elements was...
- 28. While brands have already learned a lot, I still argue that there needs to be a change in brand thinking for brands to fully to embrace transmedia!
- 29. The goal shouldbe: From: ”How …to: ”How to to get get our transmedia brand to to work work with with our transmedia? brand?”…
- 30. Remember, archetypes asthe catalyst for participation was the lesson most marketers have missed (in my opinion)
- 39. ” Will transmedia storytelling enrich popular culture or make it more formulaic?” (I think: both, depending on how you look at it)
- 40. Transmedia 2012? • There’sa sense that the “hype” has died • ARGFest 2010: “ARGs are dead” feeling that transmedia isn’t all that it could be • Was transmedia a fad or did it just get incorporated into the entertainement biz + branding?
- 42. In conclusion • Mediabusiness conglomeration and media culture evolution drive this change • Pop culture / marketing becoming increasingly self-referential and formulaic this is also what drives participation • Brands have already learned a lot, but definitely could learn more!
- 43. Q&A? (this presentation willbe available on my Slideshare account, just google ”Henri Weijo Slideshare” or something)
- 44. In particular, checkout these transmedia PhDs: • Geoffrey Long (2007) on migratory cues and negative capability • Christy Dena (2009) on Transmedia practice • (both are available online)
- 45. Some resources • http://henryjenkins.org/2007/03/ transmedia_storytelling_101.html • http://blogs.middlebury.edu/mediacp/ • http://henryjenkins.org/2009/08/ transmedia_storytelling_and_en.html • http://dspace.mit.edu/bitstream/handle/ 1721.1/39152/166227980.pdf?sequence=1 • http://cms.mit.edu/research/theses/ IvanAskwith2007.pdf • http://henryjenkins.org/2006/12/ how_transmedia_storytelling_be.html • http://www.cultureby.com/trilogy/2005/12/ transmedia_bran.html