Scolari ACE Trans PDF
Scolari ACE Trans PDF
Scolari ACE Trans PDF
2014
THEME 6
Transmedia storytelling:
new ways of communicating
in the digital age
by Carlos A. Scolari
http://hipermediaciones.com/
@cscolari
Analysis of recent developments in the way stories are told in order to consider
audience consumption habits more precisely through the delivery of independent
stories which, while independent, are linked through multiple media platforms.
Analysis of the new creative possibilities given the access to new sources of reve‐
nue and the promotion of deeper levels of audience participation and loyalty.
INTRODUCTION towards the end of 1604: El ingenioso hidalgo don
Quijote de la Mancha. The last halls of our imaginary
Let us imagine a Museum of Storytelling, organised storytelling museum wouldn’t have walls, but
as if it were itself a story. The first hall would be screens. Cinema screens, television screens,
devoted to forms of oral expression. Let’s imagine a interactive screens, each of them telling a story in
dimly lit space with sounds that emerge from the their own way. On one screen Citizen Kane, and on
walls, from the first most guttural expressions to another, Breaking Bad and, on the threshold of the
complex stories of love and war, or even better of hall, Grand Theft Auto V. The hall I have just
love and war, that are repeated from generation to described would be on the ground floor of the
generation. The second hall would be devoted to Museum of Storytelling and it would be open 24/7.
forms of graphic storytelling, from the most Every day of the year. We can’t stop telling stories.
ancestral (Altamira cave paintings), to the most
contemporary (the graphic novels sold in the But the Museum of Storytelling wouldn’t end there.
bookshops of our cities along with beautiful volumes The first floor would be in the form of a large
devoted to design and architecture). One hall, balcony overlooking the halls on the ground floor. A
without doubt the largest of all the halls in the stroll around this floor would enable visitors to lean
museum, would be devoted to the written narrative. over to see all the story‐telling experiences in the
In this great hall visitors would be able to see original history of humanity and to unify them in a virtual
texts in low‐lit display cabinets: the Epic of tour linking the cinema screen and the book, the
Gilgamesh carved on clay tablets, the papyri telling television screen and the graphic novels. There
the story of the short life of Nibhurrereya, better would have to be a poster informing visitors that this
known as Tutankhamun, until they reached a second‐floor balcony is devoted to transmedia
volume printed in the workshop of Juan de la Cuesta storytelling.
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WHERE WE ARE HEADING: DIGITAL TRENDS IN THE WORLD OF CULTURE
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2014
WHAT IS TRANSMEDIA A researcher into storytelling might propose the
following alternative, one that arises from the
STORYTELLING? tension that exists between official texts, the so‐
The term “transmedia storytelling” was coined by called canon, and those produced by fans
the US researcher Henry Jenkins in an article (“fandom”):
published in 2003. What is a transmedia story? A
transmedia story has two main characteristics. Cn + Fn = TS
Firstly, it is a story that is told through multiple
media and platforms. The story begins in a comic, Cn: Canon
continues in a television cartoon series, it expands Fn: Fandom
into a full‐length feature film and ends (ends?) by TS: Transmedia storytelling
incorporating new interactive adventures in
videogames. An example of this is Superman, a story Apart from the possible formulas, which are more or
that began in a comic, moved onto radio and less economic, more or less narrative or more or less
television in the 1940s, and ended up being shown anthropological, it is clear that transmedia
on the big screen for the first time in the 1970s. But storytelling is here amongst us. In less than ten years
transmedia stories also have another characteristic: these new ways of telling a story have ceased being
some of the receivers do not limit themselves to the object of academic debate to become central to
consuming cultural products, but take up the task of the cultural industries’ development strategies. At
adding to the story with new texts. A brief survey of the present time there are hardly any actors in the
YouTube or Fanfiction.net will show how there are field of communication that are not thinking about
all kinds of stories about the American superhero their production in transmedia terms: from fiction to
that have been created by his fans, from parodies to documentary, journalism and advertising to political
crossovers with other characters such as Tintin and communication.
Sherlock Holmes.
If we were to describe transmedia storytelling as a WHY DOES STORYTELLING
formula, it would be the following one: BECOME TRANSMEDIA
MI + PUC = TS STORYTELLING?
In the 1980s, with the expansion of cable television
where; and the appearance of the first satellite dishes on
MI: Media industry roofs and balconies, people started to talk about the
CPU: Participative user culture fragmentation of TV audiences. Umberto Eco called
TS: Transmedia storytelling this increase in the number of TV channels the
transition between paleotelevision (with only a
An anthropologist of communication inspired by handful of channels available) to the channel surfing
Michel de Certau, might propose another formula or “zapping” of neotelevision (which enables TV
based on the opposition between “strategies” and viewers to choose from dozens of options). More
“tactics”: channels, more specific content (news channels,
popular music, etc.) and the greater fragmentation
IS + UT = TS of the audience.
where; The arrival of the World Wide Web and the spread of
IS: Industry strategy new forms of digital, interactive communication—
UT: User tactics from videogames to communication through mobile
TS: Transmedia storytelling
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devices—led to further fragmentation in the field of scientific, religious and educational discourse is also
communication. Time spent on Twitter, Facebook or becoming transmediated. In this article we shall
playing FIFA 2014 is time stolen from television, review some of the transmedia productions and
cinema or reading books. Perhaps the term strategies that might be considered paradigmatic in
“fragmentation” is no longer sufficient and we the Spanish market. Like the Mona Lisa for the
should instead be talking about the “atomisation” of Louvre or Las Meninas for the Prado, here we
the audience. present some of the transmedia jewels in the
Museum of Storytelling.
The atomisation of the audience and the experience
of media consumption is not simply a cultural
phenomenon. It implies an attack that goes to the
heart of the cultural industries’ business model. The
TRANSMEDIA FICTION
television and cinema industries worked because When talking about transmedia storytelling, some
millions of people consumed their products. If these works always crop up, as examples which,
consumers now spend their time experiencing undeniably, the researcher or producer must cite,
media reception in different ways, how is the market namely: Star Trek, Star Wars, The Matrix, Pirates of
to be maintained? Transmedia storytelling, in this the Caribbean, Harry Potter, Lost, The Walking Dead,
context, presents itself as a possible solution, and and so on. That is to say, we can already say there is
surely not the only one, for confronting audience a canon of transmedia work. All these works have
atomisation. As has already been said, transmedia something in common: they all tell a story that
storytelling expands from one medium to another and their fans
proposes a actively participate in this expansion. As can be
common seen, a transmedia world can be born from a book
experience that In transmedia such as Harry Potter, a feature film like Star Wars or
encompasses storytelling the story The Matrix, a TV series such as Star Trek or Lost, a
various media
expands from one comic like The Walking Dead or an attraction in a
and devices, all
medium to another theme park such as Pirates of the Caribbean. Any
and can count on active
united by a text has the potential to become the subject of
user participation
narrative link. transmedia storytelling.
(Scolari, 2013).
User participation in this expansion is such that it is
We are unlikely ever to return to the days of millions impossible to know where a transmedia story ends.
of TV viewers all watching the same programme at For example, the official story of Harry Potter—the
the same time. This form of broadcasting will canon—is over. However, there are hundreds of
probably be limited to events with a planetary reach thousands of stories written by fans that are
such as the final of the football World Cup or the circulating on the networks and which are
election of a new Pope. But transmedia storytelling expanding the Harry Potter universe, through
makes it possible to regroup the audience around a fandom. You know where a transmedia narrative
story. If audiences were previously media‐centred, world begins, but never where it might end.
now they tend to be narrative‐centred.
What is the situation with transmedia production in
Transmedia storytelling is spreading from one end Spain? The results of a study carried out in
of the media ecosystem to the other, taking old and Barcelona (Scolari et al., 2012) might, to a large
new media in its stride. And it also spans different extent, be extrapolated to Spain as a whole.
types of communication so there is transmedia Amongst the main conclusions of this study we
storytelling in fiction, in journalism, in might mention the fact that Spanish transmedia
documentaries and in advertising. Political, productions are nascent and limited, especially if we
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compare them to works produced for the US was broadcast the following week. The idea behind all
market. Sometimes the works are presented as this is to attract an audience and to change the kind of
adaptations and it is rare for them to opt for relationship we have with that audience. At the present
narrative expansion that might include new time the series is no longer being broadcast,
nevertheless, the community is very active. We have
characters or situations.
launched the second version of the videogame, it is not
aligned with any series because there isn’t one, but fans
In large measure, transmedia production in this are still hooked up to the videogame, and are active on
context is seen as an experiment that separates the community’s fora.” (Asensi, 2013: 163).
communication companies from their core business.
For a TV producer or a film director, producing This narrative world has also experimented with the
content for other media (from video games to creation of applications for the second screen such
comics) is, to a certain extent, a traumatic process of as a card game, and videogame matches have been
transition. Those trained in the traditional formats organised at Campus Party and the FesTVal in
of production find it difficult to think in “transmedia Vitoria.
terms”. For them, transmedia storytelling is often a
secondary, non‐strategic activity, and one that is not Other TV Amongst the most notable
really productive. formats that Spanish transmedia
have stories is Águila Roja
Nevertheless, little by little, things are beginning to implemented for which the narrative
change. Amongst the most outstanding transmedia transmedia world expanded to include
works in Spain we might mention Águila Roja expansions are videogames and comics
(Spanish Radio and Television (RTVE) ‐Globomedia). reality shows
This narrative world has expanded beyond the small (Operación
screen to embrace videogames and comics. Triunfo), late night shows (Buenafuente) and satire
According to Francisco Asensi, director of RTVE (Polónia). The case of Chikilicuatre—the famous
Interactive Development, Águila Roja was the first character born of the “El Terrat” factory within the
complete extended universe generated by RTVE: Buenafuente programme—is a good example of the
transmedia exploitation of a character. To a large
We started by setting up a Web site containing all the extent, in the examples mentioned transmedia
episodes of the series so that people could watch them storytelling is not the result of careful planning
whenever they wanted. Later on, together with
(strategic transmedia), but rather, it is presented as
Globomedia, we brought in new elements, and in this
way we were able to build up a community of fans (...). a narrative extension dictated by the favourable
In the world of the social networks there are fora, official conditions of the media ecosystem; in other words,
Facebook pages and other, independent communities. producers react to the environmental inputs and
To a certain extent you lose control over the story and expand the story towards the media and platforms
viewers create their own products. Someone even that are the most convenient (tactical transmedia).
managed to create an Águila Roja madelman which
many people thought was an official product.” (Asensi, In the specific case of works for cinema it is,
2013: 162). perhaps, the experience of El cosmonauta (directed
by Nicolás Alcalá, 2012) that has been the most
The Águila Roja videogame shows the potential of outstanding in Spain. As well as being one of the
transmedia storytelling. More than 140,000 people first audiovisual productions financed through
participated in the first version. According to Asensi, crowdfunding, this narrative world expanded to
incorporate a series of textual components that
The nice thing about the game is that it was aligned with complemented the story in the film. In El
the series. That means there were tasks to complete
cosmonauta the transmedia storytelling was not just
every week and they were resolved in the episode that
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a narrative resource, it was also used to sell extra kind of production, disseminating it and thereby
content and contribute to the funding of the project enrich the transmedia storytelling thus created.
(the full‐length feature film can be seen free on line).
The lack of legislation covering these new realities
Some successful children’s productions such as Las often tends to cause a short circuit between users
tres mellizas, translated into 35 languages and seen and producers, or indeed, between producers and
in more than 150 countries, can, to all effects, be distributors. In the case of users and producers what
considered transmedia storytelling. This narrative is needed is legislation that covers the not‐for‐profit
world appeared during the early 1980s and was textual appropriations of users. In this respect, the
based on the books by Roser Capdevila. During the various Creative Commons licenses could be of
following decade it expanded to the worlds of great use for dealing with these works which have
television, cinema, the digital environment, theatre no commercial purpose. Relations between
and countless games and merchandising products. producers and distributors tend to be no less
Las tres mellizas is one of the most important complex and are expressed, for example, through
transmedia products to have been generated by the the administration of the on‐line space for a specific
Spanish cultural industries. work. It can be said that the legislation covering
audiovisual production is still, in large measure,
With regard to Devices should be created “monomedia” legislation and does not contemplate
content to facilitate users' situations created by transmedia storytelling.
generated by production, to disseminate
users, Spanish it and enrich the From an industrial point of view, it could be said that
fans can hardly transmedia storytelling traditional communication companies find it difficult
be differentiated created by them to adapt to transmedia productions and that they
from those of are what we might call “monomedia companies”.
other countries. With respect to the large multimedia groups, these
While it may be true to say that the quantity of user‐ would apparently fulfil all the conditions necessary
generated textual production does not reach the to create transmedia works (there are groups that
levels of that of the large, global market include TV studios, book‐publishing companies and
blockbusters, the level of creativity in their works so forth), but they often find it very complicated to
has nothing to fear through any comparison with combine the various productive units, which
that of other communities of fans. Local productions consequently continue to operate in an individual
such as, for example, Amar en tiempos revueltos, and and independent way. Finally, for the small
foreign production such as Fringe or Lost, have companies that have been established over the last
inspired a vast amount of fanfiction from Spanish decade only a small effort is required to design and
fans. When the storytelling is good, the fans do not develop transmedia storytelling worlds. These
let the opportunity of contributing their texts to the companies, often founded by young professional
transmedia story escape them. people, have a transmedia DNA written into them;
they are native transmedia companies.
Unfortunately, the users’ textual production is
hardly ever utilised by the creators of narrative To sum up, we could say that it is only recently that
worlds since the latter often do not inhabit spaces in transmedia storytelling has been taking its first
which they might interact with the fans. Little by steps in Spain. It is not proving easy, especially for
little, however, Spanish producers are beginning to traditional monomedia companies, to “think in
understand that they should never underestimate transmedia terms”. But, the fact can not be ignored:
the content generated by users and that, on the we are faced with an irreversible transformation
contrary, they should create ways of promoting this process. Companies and other actors in the
communication world are going to be obliged to
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adapt to the new media ecosystem if they want to the field are also a sign of frenetic activity in this
survive. In this context, the transmedia landscape is context. In May 2012 the Transmedia Living Lab was
a fundamental component of this adaptive process. held in Madrid, with Henry Jenkins attending. For
While this article might be focussed on the situation the last week of October 2014 the group Storycode
in Spain, we might ask ourselves, given the porous Barcelona has proposed to hold a Transmedia Week,
nature of the audiovisual markets, what is an open platform focussing, during the course of the
happening in Latin America? What is the reaction to week, on events related to transmedia storytelling
transmedia production in the field of fiction? In being organised all around the world.
some countries transmedia production practice is
being consolidated through soap operas, Latin
American production companies’ audiovisual
product par excellence. For example, for several
BEYOND FICTION
years the Brazilian conglomerate Globo has had an As we have noted, transmedia storytelling goes
internal unit devoted to the transmedia articulation beyond fiction. It could be said that journalism has
and expansion of its soap operas, above all in the always had a transmedia character, even before the
social media, and in this way an eminently TV emergence of the World Wide Web: even then the
product has been brought into line with consumers’ news expanded from radio to television and from
new dynamics and the media ecosystem. However, there to newspapers and periodicals. Users, despite
it should be pointed out that this kind of initiative is the lack of social networks could provide their
still an incipient one in the context of Latin America. contributions by calling the radio stations and
writing letters to the editors of newspapers. This
In conclusion to It is not just in the field process obviously entered a new dimension with the
this section we of fiction, the news media proliferation of new media and 2.0 communication
should mention also invite their audience platforms. At the present time there are no
research being to send contributions to informative media, be they written of audiovisual,
carried out into expand the information that do not invite their receivers to send
transmedia they provide information, photographs, videos or text that
storytelling in enables the telling of news to be expanded.
the field of
fiction. As in other places, this subject became the In Spain, the news media have been progressively
object of attention for Spanish researchers during accepting the logic of transmedia storytelling, the
the mid‐2000s. The translation of Henry Jenkins’ hotbed of many debates and critical situations
book Convergence Culture into Spanish, published in which are far from over. For example, debates about
2006, accelerated the concept of transmedia so‐called “citizen journalism” or “journalism 3.0”, or
narrative or transmedia storytelling and led to the the creation of content by users, can be considered
first investigative works (Guarinos, 2007; Grandio, to result from the tensions generated by the
2009; Scolari, 2008, 2009). Not surprisingly, the transmediatisation of news discourse. Other
study of transmedia storytelling brought together phenomena that cut across contemporary
researchers from various disciplines and fields of journalistic debates—from the fusion of digital and
research, from experts in the new media to scholars traditional composition or editing to the growing
of television, from sociologists to anthropologists use of infographics—can also be considered to be
interested in the behaviour of communities of fans. linked to the management and development of
transmedia journalism.
Spanish research also has a presence on the
international stage either through scientific With regard to interactive documentaries, amongst
publications or through conferences and round table the most recent works we find Las voces de la
discussions. Activities focussed on professionals in memoria, (The voices of memory) a production by
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Spanish Radio and Television ‐ RTVE in tandem with architect (El taller de Gaudí / Los fantasmas de la
the Association of the Families of Alzheimer Pedrera). This story spanned various books, online
Sufferers. This work consists of a series of videogames, and a play in Catalan (Les Tres Bessones
audiovisual productions (available online), an i l’enigmàtic senyor Gaudí) in which there were new
application for mobile devices and a channel on situations and characters.
YouTube. Additionally the experimental productions
of RTVE.es Lab are a good example of the On other occasions plays are at the core of a
exploration of new territory marked by interaction, transmedia storytelling world that expands to the
data journalism and the convergence of languages. Internet. Over recent years numerous theatre
It should be pointed out that, in the case of companies have opted to use the social networks.
interactive documentaries, we are not dealing with For example, in 2010 together with the Muldark
an explosion of media and user‐generated content, agency, the Royal Shakespeare Company developed
as is the case with fiction, but rather that we are the Such Tweet Sorrow project, a contemporary
witnessing the confluence of systems of meaning in version of Romeo and Juliet that took place over the
a digital, interactive environment. Nevertheless, the course of five weeks on Twitter. Other theatre
idea can not be completely dismissed of companies such as New Paradise Laboratories and
documentaries also adopting the distinctive traits of Waterwell have also experimented with social
transmedia fiction. The productions of National networks and the transmission of their
Geographic, for example, point in this direction. performances via the Internet (Carter, 2011).
Research is starting in Spain into transmedia news In Spain, a It is ever more the case
production. While there are important studies into theatre group that theatrical works are
cyberjournalism—Spain was a pioneer in Latin like La Fura dels the centre of a transmedia
America in this branch of study (see, for example, Baus could not storytelling world that
Armañanzas, Díaz Noci and Meso, 1996)—over the be left on the expands to the Internet
last few years the first works have started to appear sidelines of this through the social media
on journalism and documentaries as stories that kind of
expand in many media and that incorporate user experimentation. Their work Afrodita y el juicio de Paris
participation (for example, Cebrián and Flores, 2011; became this group’s first viral show. People could
Flores and Salinas, 2012; Renó and Flores, 2012; follow the whole process, from rehearsals, the
Gifreu, 2012). preparing of stage sets, the work of participants and
the final result of the macroshow through the main
social media by following the hashtag
A TRANSMEDIA #AfroditaCanarias. The production of plays conceived
for streaming is also emerging in Spain thanks to
CULTURAL UNIVERSE projects such as Teatron and Interteatro. Teatron is a
Transmedia experiences are not, however, limited to portal that brings together initiatives such as
fictional and non‐fictional narratives; we also find PlayDramaturgia, devoted precisely to the creation of
them in other cultural spheres such as theatre and specific theatre events for live retransmission via the
music. How can transmedia storytelling be part of networks. Interteatro, on the other hand, devises
theatre? It can, for example, form part of the media shows which combine varying formats of
network (theatre is also a means of communication!) retransmission via the Internet, video and live
and contribute to the expansion of stories that have performance (Hernando, 2013). Most of these theatre‐
their origins in cinema or television. During Gaudí based projects are still far from transmedia expansion
Year (2002), the children’s TV series Las tres mellizas or fans’ activities to which audiovisual fiction has made
included two episodes devoted to the great Catalan us accustomed. There is still a long and exciting way to
go in the construction of a new transmedia theatre.
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When we talk of the possible points in common concept behind the band that would act as a
between music and transmedia we are immediately narrative vehicle to tell a story (each record being a
faced with the concept of Gesamtkunstwerk, which “film” and every song a “scene”). The moment came
might be translated as “total work of art”. Attributed when I realised that this story could be understood
to Richard Wagner, this term refers to artistic works much better as a complementary text that explained
that combine music, theatre and the visual arts. In it and from there it was but a short step to thinking
the case of transmedia music, rather than being about writing the novel. This made us realise that
combined in a work itself, such as an opera, the this concept could go much further, to video clips,
sound narrative tends to be distributed via various short films and so on. Time and resources will
media and platforms. determine how far we get with this
concept.” (Mautor, 2013).
In the sphere of In transmedia
music, there are music the sound‐story The crisis affecting the music market can not do
already is distributed in various other than encourage this kind of initiative. If, two
transmedia media and platforms decades ago, the videoclip burst onto the musical
initiatives of that go beyond marketing scene with force, today it is the social
great scope, sound itself networks and their viral content that are charged
such as the with taking songs beyond sound.
launch of the
record Year Zero by the band Nine Inch Nails, in
2007. On that occasion this industrial rock band
organised an international Alternate Reality Game
NOTES REGARDING
(ARG) which included various textual components THE FUTURE
distributed during the tour. The information needed By now, as the reader will have realised, the
to progress in the game—a game based on a adjective “transmedia” has become the ideal
apocalyptic fantasy story—was disseminated via T‐ accompaniment for all kinds of cultural or
shirts, USB memory sticks, videos on the Web, communicative activities. Over recent years it has
lithographs, advertising brochures and the like. In not been strange to hear colleagues talking about
2012 the band The Bullits also experimented with a transmedia branding, transmedia education,
multiplatform musical narrative using Twitter, transmedia politics and so on. The transmedia
YouTube, the Web and the graphic novel. According concept is currently fashionable. Just as happened
to their leader, Jeymes Samuel, “All media, be they with multimedia in the 1990s, many companies now
for recorded music, video, or Facebook are package their communication products under this
canvasses for telling wider stories. [...] I want film label, even the ones that are not transmedia!
directors and musicians to embrace technological Nevertheless, we should be clear about two things:
devices much more. Imagine the Beatles still existed
and the narrative for a new album started as a feed The transmedia concept might cease to be
on Twitter”. (Cheshire, 2012). fashionable, as happened with multimedia, but
the logic of transmedia storytelling is here to
Some Spanish bands are already experimenting with stay. In the face of audience fragmentation
transmedia storytelling. For example, the metal transmedia storytelling offers a possible
band The YTriple Corporation has just launched strategy to reconstruct an audience niche
their first record accompanied by a novel (everyone around a narrative world.
who downloads the album can enjoy a couple of free If those working in the world of
chapters). According to their leader, Salva Rubio, communication should ever replace the
transmedia concept for another one, the
“Everything started from my intention to create a
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scientific community will continue to use it In the study quoted at the beginning of this article
because it has already been sufficiently (Scolari et al., 2012) two kinds of company were
analysed and theorised to justify its survival in identified: large traditional producers characterised
academic discourse. by being monomedia, and the new, productive ones
with a transmedia profile. The challenge facing the
Beyond semantic debates the development of cultural industries is a double one: on one hand, the
transmedia storytelling in Spain depends, in large big players have to transition from monomedia to
measure, on the vitality and capacity for innovation transmedia, and it is quite possible that, as has
of its actors, both great and small. Paco Rodríguez, already happened in other markets such as the
director of Media Training & Consulting, warns that United States, they are unable to manage this
the small size of the Spanish market is a limitation transition with their own means and find themselves
for embarking on transmedia projects of an obliged to seek assistance from specialised
international dimension: professionals, the transmedia producers. Small,
native transmedia companies, on the other hand,
In Spain, both in cinema and in television, we have a face the challenge of venturing beyond local niches
lower level and act in a market of lower value. We to conquer international markets. Beyond their
always try to go from the simple to the complex, from influence in the Spanish market, the successes of
the smaller to the greater. For example, we could make a some TV products such as Las tres mellizas, and the
local or national transmedia and leave it at that, within
international interest that has been demonstrated in
our environment or market, without the intention of
going further than that. But if we want to reach across cinema projects such as El cosmonauta, show the
our borders then the following thoughts should be possible ways forward for transmedia productions.
considered. Is it my intention, right from the beginning,
to create a world‐wide transmedia? Or, shall I start at a And so concludes our visit to the Museum of
local level and then attempt to extrapolate it and sell it Storytelling. We have visited the main exhibition
by adapting it with international partners? They are rooms, some of them crowded with visitors, others
premises that, from the start, you should consider in not so easy to find but where new forms of narrative
accordance with the size and dimension of your expression are being born. But, as is the case with all
company.(Rodríguez, p. 182). great museums, one visit is not enough. There will
always be another room where a work awaits us that
Some professionals in the field, such as Fernando will change our way of understanding the process of
Carrión, who has a great deal of experience in the creation. Or there will a corner somewhere with a
coordination of audiovisual and transmedia projects, masterpiece that defines a period and which
point to the need to modernise company structures everyone will try to imitate. Like all transmedia
in order to confront the challenges of transmedia stories worthy of the name, the Museum of
storytelling. Storytelling knows where the story started but
never knows where it will end.
At the company level, a key point is the evolution of the
producers’ mentality. The “military” structure of
traditional producers has to change. We are talking
about a concept of co‐creation. At the present time the
work of various experts complements that of others,
such as the creators, the social network managers and so
on. It is because of this that we must find something that
is much more organic, more honest, more operational,
indeed more holistic where everything, somehow, is
more strictly organised. (Carrión, 2013: 29).
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2014
REFERENCES Grandio, M. (2009). Audiencia, fenómeno fan y ficción
televisiva. El caso de Friends. Buenos Aires: Libros en
Armañanzas, E.; Díaz Noci, J. and Meso, K. (1996). El Red.
periodismo electrónico. Información y servicios
multimedia en la era del ciberespacio. Barcelona: Guarinos, V. (2007). “Transmediales, el signo de
Ariel. nuestro tiempo”. Comunicación, 5, 2007, pp. 17‐22.
Asensi, F. (2013). “El caso de éxito del transmedia de Hernando, S. (2013). “Un escenario llamado
las series españolas: iRTVE”. In Fundación Internet”. El País, 21 February 2013. http://
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audiovisuales ante el nuevo escenario transmedia, pp. actualidad/1361381042_453502.html
151‐178. Seville: Fundación Audiovisual de
Andalucía. Mautor, A. (2013). “Entrevistamos a The YTriple
Corporation”. In the blog Nos gusta la música.com.
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experiencia de entretenimiento total”. In Fundación a‐the‐ytriple‐corporation/
Audiovisual de Andalucía (ed.), Profesionales
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embraced‐transmedia/ Audiovisual de Andalucía (ed.), Profesionales
audiovisuales ante el nuevo escenario transmedia, pp.
Cebrián, M. and Flores, J. (2011). Periodismo en la 179‐200. Seville: Fundación Audiovisual de
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Cheshire, T. (2012). “Metamedia storyteller: Jeymes Scolari, C. A.; Fernández de Azcárate, S.; Garín, M.;
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30 May 2012. http://www.wired.co.uk/magazine/ Oliva, M.; Pérez, O. and Pujadas, E. (2012).
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WHERE WE ARE HEADING: DIGITAL TRENDS IN THE WORLD OF CULTURE
AC/E digital culture ANNUAL REPORT
2014
TRANSMEDIA 10 web sites
STORYTELLING RESOURCES Alternate Reality Gaming Network: resources on
Alternate Reality Games (http://www.argn.com/)
10 texts on transmedia Comparative Media Studies (MIT): leading research
storytelling centre (http://cmsw.mit.edu/)
Bernardo, N. (2011). The Producers Guide to
Transmedia: How to Develop, Fund, Produce and Confessions of an Aca‐Fan: Henry Jenkins’ blog
Distribute Compelling Stories Across Multiple (http://henryjenkins.org/)
Platforms. London: CR Entertainment Ltd.
Cross‐media: the Italian Web site of the Italian Max
Bruns, A. (2008). Blogs, Wikipedia, Second Life, and Giovagnoli (http://www.cross‐media.it/)
Beyond: From Production to Produsage. New York,
NY: Peter Lang. Christy’s Corner of the Universe: Christy Dena’s blog
(http://www.christydena.com/)
Davidson, D. (2010). Cross‐Media Communications:
an Introduction to the Art of Creating Integrated Hipermediaciones: Carlos A. Scolari’s blog
Media Experiences. Pittsburgh, PA: Carnegie Mellon (http://hipermediaciones.com/)
University. http://repository.cmu.edu/etcpress/6/
Power to the Pixel: London think tank specialised in
Harrigan, P. and Wardrip‐Fruin, N. (2009). Third transmedia (http://powertothepixel.com/)
Person: Authoring and Exploring Vast Narratives.
Cambridge, MA: MIT Press. Storycode: organisation devoted to immersive
storytelling (http://storycode.org/)
Jenkins, H. (2006). Convergence Culture. Where Old
and New Media Collide. New York, NY: New York TEDx Transmedia: TED conferences focussed on
University Press. transmedia (http://www.tedxtransmedia.com/)
Jenkins, H. (2006). Fans, Bloggers, and Gamers: Transmedia Week: platform for organising events
Media Consumers in a Digital Age. New York, NY: about transmedia with world reach
New York University Press. (http://www.transmediaweek.org)
Jenkins, H. and Deuze, M. (eds.) (2008).
“Convergence Culture”. Special issue of Convergence
10 tweeters
14 (1). @christydena
@EduardoPradanos
Jenkins, H.; Ford, S. and Green, J. (2013). Spreadable @Enawebseriada
Media. Value, Meaning & Network Culture. New York, @HenryJenkins
NY: New York University Press. @indioszurdos
@Jeff_Gomez
Ryan, M. L. (2004). Narrative across Media: The @librosybitios
Languages of Storytelling. Lincoln, NE: University of @margrandio
Nebraska Press. @robpratten
@Transmedia_Week
Scolari, C. (2013). Transmedia storytelling. Cuando
todos los medios cuentan. Barcelona: Deusto.
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WHERE WE ARE HEADING: DIGITAL TRENDS IN THE WORLD OF CULTURE