Registration is available here. Also, note there is a pre-conference MIT Communications Forum free and open to the public on Thursday, Nov. 8.
At the two-day conference, each morning will be spent discussing key issues faced by media producers, marketers, and audiences alike, at the heart of the futures of entertainment. Each afternoon, we will look into how some of those issues are manifesting themselves in specific media industries.
More information will be released regularly from @futuresof on Twitter.
Also, in anticipation of FOE6, we are finally archiving the video from Transmedia Hollywood 3 here at the FOE site. Transmedia Hollywood is our sister event, held annually in the spring at the USC or UCLA campus. A description of Transmedia Hollywood and the videos can be found below.
Transmedia Hollywood 3: Rethinking Creative Relations
As transmedia models become more central to the ways that the entertainment industry operates, the result has been some dramatic shifts within production culture, shifts in the ways labor gets organized, in how productions get financed and distributed, in the relations between media industries, and in the locations from which creative decisions are being made.
This year’s Transmedia, Hollywood examines the ways that transmedia approaches are forcing the media industry to reconsider old production logics and practices, paving the way for new kinds of creative output. Our hope is to capture these transitions by bringing together established players from mainstream media industries and independent producers trying new routes to the market. We also hope to bring a global perspective to the conversation, looking closely at the ways transmedia operates in a range of different creative economies and how these different imperatives result in different understandings of what transmedia can contribute to the storytelling process – for traditional Hollywood, the global media industries, and for all the independent media-makers who are taking up the challenge to reinvent traditional media-making for a “connected” audience of collaborators.
Many of Hollywood’s entrenched business and creative practices remain deeply mired in the past, weighed down by rigid hierarchies, interlocking bureaucracies, and institutionalized gatekeepers (e.g. the corporate executives, agents, managers, and lawyers). In this volatile moment of crisis and opportunity, as Hollywood shifts from an analog to a digital industry, one which embraces collaboration, collectivity, and compelling uses of social media, a number of powerful independent voices have emerged. These include high-profile transmedia production companies such as Jeff Gomez’s Starlight Runner Entertainment as well as less well-funded and well-staffed solo artists who are coming together virtually from various locations across the globe. What these top-down and bottom-up developments have in common is a desire to buck tradition and to help invent the future of entertainment. One of the issues we hope to address today is the social, cultural, and industrial impact of these new forms of international collaboration and mixtures of old and new work cultures.
Another topic is the future of independent film. Will creative commons replace copyright? Will crowdsourcing replace the antiquated foreign sales model? Will the guilds be able to protect the rights of digital laborers who work for peanuts? What about audiences who work for free? Given that most people today spend the bulk of their leisure time online, why aren’t independent artists going online and connecting with their community before committing their hard-earned dollars on a speculative project designed for the smallest group of people imaginable – those that frequent art-house theaters?
Fearing obsolescence in the near future, many of Hollywood’s traditional studios and networks are looking increasingly to outsiders – often from Silicon Valley or Madison Avenue – to teach these old dogs some new tricks. Many current studio and network executives are overseeing in-house agencies, whose names – Sony Interactive Imageworks, NBC Digital, and Disney Interactive Media Group – are meant to describe their cutting-edge activities and differentiate themselves from Hollywood’s old guard.
Creating media in the digital age is “nice work if you can get it,” according to labor scholar Andrew Ross in a recent book of the same name. Frequently situated in park-like “campuses,” many of these new, experimental companies and divisions are hiring large numbers of next generation workers, offering them attractive amenities ranging from coffee bars to well-prepared organic food to basketball courts. However, even though these perks help to humanize the workplace, several labor scholars (e.g. Andrew Ross, Mark Deuze, Rosalind Gill) see them as glittering distractions, obscuring a looming problem on the horizon – a new workforce of “temps, freelancers, adjuncts, and migrants.”
While the analog model still dominates in Hollywood, the digital hand-writing is on the wall; therefore, the labor guilds, lawyers, and agent/managers must intervene to find ways to restore the eroding power/leverage of creators. In addition, shouldn’t the guilds be mindful of the new generation of digital laborers working inside these in-house agencies? What about the creative talent that emerges from Madison Avenue ad agencies like Goodby, Silverstein & Partners, makers of the Asylum 626 first-person horror experience for Doritos; or Grey’s Advertising, makers of the Behind the Still collective campaign for Canon? Google has not only put the networks’ 30-second ad to shame using Adword, but its Creative Labs has taken marketing to new aesthetic heights with its breathtaking Johnny Cash [collective] Project. Furthermore, Google’s evocative Parisian Love campaign reminds us just how intimately intertwined our real and virtual lives have become.
Shouldn’t Hollywood take note that many of its most powerful writers, directors, and producers are starting to embrace transmedia in direct and meaningful ways by inviting artists from the worlds of comic books, gaming, and web design to collaborate? These collaborations enhance the storytelling and aesthetic worlds tenfold, enriching “worlds” as diverse as The Dark Knight, The Avengers, and cable’s The Walking Dead. Hopefully, this conference will leave all of us with a broader understanding of what it means to be a media maker today – by revealing new and expansive ways for artists to collaborate with Hollywood media managers, audiences, advertisers, members of the tech culture, and with one another.
Once the dominant player in the content industry, Hollywood today is having to look as far away as Silicon Valley and Madison Avenue for collaborators in the 2.0 space.
Moderator: Denise Mann, UCLA
Panelists:
Nick Childs, Executive Creative Director, Fleishman Hillard
Jennifer Holt, co-Director, Media Industries Project, UCSB
Lee Hunter, Global Head of Marketing, YouTube
Jordan Levin, CEO, Generate
In countries with strong state support for media production, alternative forms of transmedia are taking shape. How has transmedia fit within the effort of nation-states to promote and expand their creative economies?
Moderator: Laurie Baird, Strategic Consultant – Media and Entertainment at Georgia Tech Institute for People and Technology.
Panelists:
Jesse Albert, Producer & Consultant in Film, Television, Digital Media, Live Events & Branded Content
Morgan Bouchet, Vice-President, Transmedia and Social Media, Content Division, Orange
Christy Dena, Director, Universe Creation 101
Sara DIamond, President, Ontario College of Art and Design University
Mauricio Mota, Chief Storytelling Officer, Co-founder of The Alchemists
A new generation of media makers are taking art out of the rarefied world of crumbling art-house theaters, museums, and galleries and putting it back in the hands of the masses, creating immersive, interactive, and collaborative works of transmedia entertainment, made for and by the people who enjoy it most.
Ted Hope, Producer/Partner/Founder, Double Hope Films
Sheila C. Murphy, Associate Professor, University of Michigan
By many accounts, the comics industry is failing. Yet, comics have never played a more central role in the entertainment industry, seeding more and more film and television franchises. What advantages does audience-tested content bring to other media? What do the producers owe to those die-hard fans as they translate comic book mythology to screen? And why have so many TV series expanded their narrative through graphic novels in recent years?
Moderator: Geoffrey Long, Lead Narrative Producer for the Narrative Design Team at Microsoft Studios.
Panelists:
Katherine Keller, Culture Vultures Editrix at Sequential Tart
Joe LeFavi, Quixotic Transmedia
Mike Richardson, President, Dark Horse Comics
Mark Verheiden, Writer (Falling Skies, Heroes)
Mary Vogt, Costume Designer (Rise Of The Silver Surfer, Men In Black)
Transmedia Hollywood 2: Visual Culture and Design can takes place tomorrow (Friday, April 8th). Prof. Jenkins is hosting and moderating the event - along with Denise Mann of UCLA - and many CMS C3 alumni, consulting researchers, practitioners and affiliates will be in attendance.
It promises to be an important event as "Transmedia' fights its way out of its early adoption/evangelist stage - into a broader discourse on what works, what doesn't, what the future language of the medium is and will be - as well as an exploration of the artistic, creative and market-driven pros and cons of transmedia narrative structures.
Registration is still open and is available through:
TRANSMEDIA, HOLLYWOOD 2:
Visual Culture and Design
A UCLA/USC/Industry Symposium
Co-sponsored by
UCLA Producers Program,
UCLA School of Theater, Film, and Television
and
USC School of Cinematic Arts
Friday, April 8, 2011
James Bridges Theater, UCLA School of Theater, Film, and Television
9:45 AM - 7 PM
Event Co-Directors:
Denise Mann, Associate Professor, Producers Program, UCLA School of Theater, Film and Television
Henry Jenkins, Provost's Professor of Communication, Journalism and Cinematic Arts, USC Annenberg School of Communication
Overview
Transmedia, Hollywood 2: Visual Culture and Design is a one-day public symposium exploring the role of transmedia franchises in today's entertainment industries. Transmedia, Hollywood 2 turns the spotlight on media creators, producers and executives and places them in critical dialogue with top researchers from across a wide spectrum of film, media and cultural studies to provide an interdisciplinary summit for the free interchange of insights about how transmedia works and what it means.
Co-hosted by Denise Mann and Henry Jenkins, from UCLA and USC, two of the most prominent film schools and media research centers in the nation, Transmedia, Hollywood 2 builds on the foundations established at last year's Transmedia, Hollywood: S/Telling the Story. This year's topic: Transmedia, Hollywood: Visual Culture and Design is meant to move from an abstract discussion of transmedia storytelling in all its permutations to a more concrete consideration of what is involved in designing for transmedia.
The past year has seen the Producer's Guild of America (PGA) embrace the concept of the transmedia producer. The other Guilds have begun discussing the implications of these developments for their membership. A growing number of small production units are springing up across the film, games, web, and television sectors to try to create and distribute transmedia content. Many of today's new transmedia producers are helmed by one-time studio or network insiders who are eager to "reinvent" themselves. Inside the studios, the executives tasked with top-down management of large media franchises are partnering with once marginalized film directors, comic book creators, game designers, and other creative personnel.
The underlying premise of this conference is that while the traditional studios and networks are hanging onto many of their outdated practices, they are also starting to engage creative personnel who are working outside the system to help them re-imagine their business. With crisis and change comes the opportunity for the next generation of maverick, independent-minded producers--the next Walt Disney and George Lucas-- to significantly challenge the old and to make way for the new. So, now, it is time to start examining lessons learned from these early experiments. Each of the issues outlined below impact the day-to-day design decisions that go into developing transmedia franchises. We hope to break down the project of developing transmedia content into four basic design challenges:
What does it mean to structure a franchise around the exploration of a world rather than a narrative? How are these worlds moving from the film and television screen into other media, such as comics, games, and location based entertainment?
What does it mean to design a character that will play well across a range of different media platforms? How might transmedia content re-center familiar stories around compelling secondary characters, adding depth to our understanding of the depicted events and relationships?
What does it mean to develop a sequence of events across a range of different media? How do we make sure that the spectator understands the relationship between events when they are piecing together information from different platforms and trying to make sense of a mythology that may span multiple epochs?
What does it take to motivate consumers to invest deeply enough into a transmedia franchise that they are eager to track down new installments and create buzz around a new property? How is transmedia linked to a push towards interactivity and participatory culture?
As with the first event, Transmedia, Hollywood: Visual Culture & Design will bring together comic book writers, game designers, "imagineers," filmmakers, television show runners, and other media professionals in a conversation with leading academic thinkers on these topics. Each of our speakers will be asked to focus on the unique challenges they faced while working on a specific production and detail how their understanding of transmedia helped them resolve those issues. From there, we will ask all our speakers to compare notes across projects and platforms with the hopes of starting to develop some basic design principles that will help us translate theories of transmedia entertainment into pragmatic reality.
The creative personnel we have assembled include many of the key individuals responsible for masterminding the fundamental changes in the way traditional media operates and engages audiences by altering the way stories are told temporally, by exploring how graphic design translates from one medium to another, and by explaining how these visually-stunning worlds are being conceived in today's "connected" entertainment arena.
Conference Schedule
Friday, April 8, 2011
9:15--9:45 am
Registration
9:45--10:00 am
Welcome and Opening Remarks
Teri Schwartz, Dean, UCLA School of Theater, Film, and Television
Denise Mann, Associate Professor/Head, Producers Program, UCLA School of Theater, Film and Television
Henry Jenkins, Provost's Professor of Communication, Journalism and Cinematic Arts, Annenberg School of Communication, USC
10:00--11:50 AM Panel 1: "Come Out 2 Play": Designing Virtual Worlds--From Screens to Theme Parks and Beyond
Hollywood has come a long way since Walt Disney, circa 1955, invited families to come out and play in the first cross-platform, totally merchandised sandbox--Disneyland. Cut to today and most entertainment corporations are still focused on creating intellectual properties to exploit across all divisions of the Company. However, as the studios and networks move away from the concrete spaces of movie and TV screens and start to embrace the seemingly limitless "virtual spaces" of the Web as well as the real-world spaces of theme parks, museums, and comic book conventions, the demands on creative personnel and their studio counterparts have expanded exponentially.
Rather than rely on old-fashioned merchandising and licensing departments to oversee vendors, which too often results in uninspired computer games, novelizations, and label T-shirts, several studios have brought these activities in-house, creating divisions like Disney Imagineering and Disney Interactive to oversee the design and implementation of these vast, virtual worlds. In other instances, studios are turning to a new generation of independent producers--aka "transmedia producers"--charged with creating vast, interlocking brand extensions that make use of a never-ending cycle of technological future shock and Web 2.0 capabilities.
The results of these partnerships have been a number of extraordinarily inventive, interactive, and immersive experiences that create a "you are there" effect. These include the King Kong 360 3D theme park ride, which incorporates the sight, smell, and thunderous footsteps of the iconic gorilla as he appears to toss the audience's tram car into a pit. Universal Studios and Warner Bros. have joined forces to create the Wizarding World of Harry Potter, a new $200 million-plus attraction at the Islands of Adventure in Florida.
Today's panel focuses on the unique challenges associated with turning traditional media franchises into 3D interactive worlds, inviting you to come out 2 play in the studios' virtual sandboxes.
Moderator: Denise Mann
Panelists will include:
Alex McDowell, Production Designer for Tim Burton and Zack Snyder (Corpse Bride, Watchmen)
Thierry Coup, Art Designer, Wizarding World of Harry Potter
Angela Ndalianis, Associate Professor and Head of the Cinema Studies Program at the University of Melbourne, Australia (Neo-Baroque Aesthetics and Contemporary Entertainment)
Bruce Vaughn, Chief Creative Executive, Disney Imagineering
12:00--1:50 PM Panel 2: "We're Looking For Characters": Designing Personalities Who Play Across Platforms
How is our notion of what constitutes a good character changing as more and more decisions get made on the basis of a transmedia logic? Does it matter that James Bond originated in a book, Spider-Man in comics, Luke Skywalker on screen, and Homer Simpson on television, if each of these figures is going to eventually appear across a range of media platforms?
Do designers and writers conceive of characters differently when they know that they need to be recognizable in a variety of media? Why does transmedia often require a shift in focus as the protagonist aboard the "mothership" often moves off stage as extensions foreground the perspective and actions of once secondary figures?
How might we understand the process by which people on reality television series get packaged as characters who can drive audience identification and interest or by which performers get reframed as characters as they enter into the popular imagination?
Why have so few characters from games attracted a broader following while characters from comics seem to be gaining growing popularity even among those who have never read their graphic adventures?
Moderator: Henry Jenkins
Panelists will include:
Joseph Ferencz, Strategy and Marketing Manager, Ubisoft
Geoff Johns, Chief Creative Officer of DC Entertainment
Alisa Perren, Assistant Professor, Georgia State University
Kelly Souders and Brian Peterson, Executive Producers of Smallville
2:00--3:00 PM
Lunch Break
3:00--4:50 PM Panel 3: Fan Interfaces: Intelligent Designs or Fan Aggregators?
Once relegated to the margins of society, today's media fans are often considered the "advance guard" that studio and network marketers eagerly pursue at Comi-Con and elsewhere to help launch virtual word-of-mouth campaigns around a favorite film, TV series, computer game, or comic book. Since tech-savvy fans are often the first to access Web 2.0 sites like YouTube, Wikipedia, and Second Life in search of a like-minded community, it was only a matter of time before corporate marketers followed suit. After all, these social networking sites provide media companies with powerful tools to manage fans and commit them to crowd-sourcing activities on Twitter, Facebook, and elsewhere.
Given the complexities and contradictions involved in negotiating between industry and audience interests, we will ask the game designers to explain their philosophy about the intended and unintended outcomes of their fan interfaces. Marketers clearly love it when fans become willing billboards for the brand either by wearing logo T-shirts or by dressing a favorite Madman avatar in the 1960s clothing, accessories and backgrounds on display on the AMCTV.com "Madmen Yourself" and then spreading the content through Facebook and Twitter.
What is the design philosophy behind a video game like Spore, which allows fans free range to create their own creatures and worlds but then limits their rights over this digital content? Who owns these virtual creations once they appear for sale on E-bay? These and other intriguing questions will be posed to the creative individuals responsible for designing many of these imaginative and engaging fan interfaces.
Moderator: Denise Mann
Panelists include:
Matt Wolf, Double 2.0, ARG/Game Designer
Avi Santos, Assistant Professor, Dominican College and Co-editor, FlowTV.com and In Media Res.com
5:00--6:50 PM
Panel 4: "It's About Time!" Structuring Transmedia Narratives
The rules for how to structure a Hollywood movie were established more than a century ago and even then, were inspired by ideas from earlier media -- the four-act structure of theater, the hero's quest in mythology. Yet, audiences and creators alike are still trying to make sense of how to fit together the chunks of a transmedia narrative. Industry insiders use terms such as mythology or saga to describe stories which may expand across many different epochs, involve many generations of characters, expand across many different corners of the fictional world, and explore a range of different goals and missions.
We might think of such stories as hyperserials, in so far as serials involved the chunking and dispersal of narrative information into compelling units. The old style serials on film and television expanded in time; these new style serials also expand across media platforms.
So, how do the creators of these stories handle challenges of exposition and plot development, managing the audience's attention so that they have the pieces they need to put together the puzzle? What principles do they use to indicate which chunks of a franchise are connected to each other and which represent different moments in the imaginary history they are recounting? Do certain genres -- science fiction and fantasy -- embrace this expansive understanding of story time, while others seem to require something closer to the Aristoltelian unities of time and space?
Moderator: Henry Jenkins
Panelists include:
Caitlin Burns, Transmedia Producer, Starlight Runner Entertainment
Abigail DeKosnik, Assistant Professor, University of California-Berkeley (Co-Editor, The Survival of the Soap Opera: Strategies for a New Media Era; Illegitimate Media: Discourse and Censorship of Digital Remix)
Jane Espensen, Writer/Producer: Buffy the Vampire Slayer, Battlestar Galactica, Torchwood.
John Platt, Co-Executive Producer, Big Brother, The Surreal Life
Tracey Robertson, Chief Executive Officer and Co-founder, Hoodlum
Lance Weiler, Founder, Wordbook Project
Justin Wyatt, Executive Director, Research at at NBCUniversal, Inc (High Concept: Movies and Marketing in Hollywood).
7:00 PM
Reception
Lobby, James Bridges Theater
Location
James Bridges Theater, UCLA School of Theater, Film, and Television
Registration
Faculty/Students:
Tickets are $5 for faculty and students of accredited institutions and will only be sold at the box-office of the UCLA Central Ticket Office and at the door on the day of the event (prior registration required). Valid university I.D. is required. Registration includes admission to conference and reception.
Contact
UCLA Producers Program
UCLA Department of Film, Television, and Digital Media
203 East Melnitz
Los Angeles, CA 90095
Phone: (310) 206-3761
Fax: (310) 825-3383
Email: producers@tft.ucla.edu
Web: www.tft.ucla.edu/producers
Thursday March 3, 2011 | 7:00pm | 34-101On the whole, Invisible Children looks to provide humanitarian aid to displaced persons in northern, war-torn Uganda who have suffered from Africa's longest-running civil war. Moreover, they aim to provide shelter, safety, and education to children who were or would otherwise be child soldiers in the rebel army (the LRA, or the Lord's Resistance Army.)
This next chapter of Invisible Children's Bracelet Campaign is about Tony, and the struggles he faces as a child in this harsh region of the world.
The trailer for the film is embedded below.
For more information, visit the Invisible Children website.
This event is sponsored by the MIT UA funding board.
Jedidiah Jenkins--Director of Public & Media Relations, Invisible Children-- is a panelist on the following "Transmedia and Social Change" panel from FOE4.
TRANSMEDIA, HOLLYWOOD 2:
Visual Culture and Design
A UCLA/USC/Industry Symposium
Co-sponsored by
UCLA Producers Program,
UCLA School of Theater, Film, and Television
and
USC School of Cinematic Arts
Friday, April 8, 2011
James Bridges Theater, UCLA School of Theater, Film, and Television
9:45 AM - 7 PM
Event Co-Directors:
Denise Mann, Associate Professor, Producers Program, UCLA School of Theater, Film and Television
Henry Jenkins, Provost's Professor of Communication, Journalism and Cinematic Arts, USC Annenberg School of Communication
Overview
Transmedia, Hollywood 2: Visual Culture and Design is a one-day public symposium exploring the role of transmedia franchises in today's entertainment industries. Transmedia, Hollywood 2 turns the spotlight on media creators, producers and executives and places them in critical dialogue with top researchers from across a wide spectrum of film, media and cultural studies to provide an interdisciplinary summit for the free interchange of insights about how transmedia works and what it means.
Co-hosted by Denise Mann and Henry Jenkins, from UCLA and USC, two of the most prominent film schools and media research centers in the nation, Transmedia, Hollywood 2 builds on the foundations established at last year's Transmedia, Hollywood: S/Telling the Story. This year's topic: Transmedia, Hollywood: Visual Culture and Design is meant to move from an abstract discussion of transmedia storytelling in all its permutations to a more concrete consideration of what is involved in designing for transmedia.
The past year has seen the Producer's Guild of America (PGA) embrace the concept of the transmedia producer. The other Guilds have begun discussing the implications of these developments for their membership. A growing number of small production units are springing up across the film, games, web, and television sectors to try to create and distribute transmedia content. Many of today's new transmedia producers are helmed by one-time studio or network insiders who are eager to "reinvent" themselves. Inside the studios, the executives tasked with top-down management of large media franchises are partnering with once marginalized film directors, comic book creators, game designers, and other creative personnel.
The underlying premise of this conference is that while the traditional studios and networks are hanging onto many of their outdated practices, they are also starting to engage creative personnel who are working outside the system to help them re-imagine their business. With crisis and change comes the opportunity for the next generation of maverick, independent-minded producers--the next Walt Disney and George Lucas-- to significantly challenge the old and to make way for the new. So, now, it is time to start examining lessons learned from these early experiments. Each of the issues outlined below impact the day-to-day design decisions that go into developing transmedia franchises. We hope to break down the project of developing transmedia content into four basic design challenges:
What does it mean to structure a franchise around the exploration of a world rather than a narrative? How are these worlds moving from the film and television screen into other media, such as comics, games, and location based entertainment?
What does it mean to design a character that will play well across a range of different media platforms? How might transmedia content re-center familiar stories around compelling secondary characters, adding depth to our understanding of the depicted events and relationships?
What does it mean to develop a sequence of events across a range of different media? How do we make sure that the spectator understands the relationship between events when they are piecing together information from different platforms and trying to make sense of a mythology that may span multiple epochs?
What does it take to motivate consumers to invest deeply enough into a transmedia franchise that they are eager to track down new installments and create buzz around a new property? How is transmedia linked to a push towards interactivity and participatory culture?
As with the first event, Transmedia, Hollywood: Visual Culture & Design will bring together comic book writers, game designers, "imagineers," filmmakers, television show runners, and other media professionals in a conversation with leading academic thinkers on these topics. Each of our speakers will be asked to focus on the unique challenges they faced while working on a specific production and detail how their understanding of transmedia helped them resolve those issues. From there, we will ask all our speakers to compare notes across projects and platforms with the hopes of starting to develop some basic design principles that will help us translate theories of transmedia entertainment into pragmatic reality.
The creative personnel we have assembled include many of the key individuals responsible for masterminding the fundamental changes in the way traditional media operates and engages audiences by altering the way stories are told temporally, by exploring how graphic design translates from one medium to another, and by explaining how these visually-stunning worlds are being conceived in today's "connected" entertainment arena.
Conference Schedule
Friday, April 8, 2011
9:15--9:45 am
Registration
9:45--10:00 am
Welcome and Opening Remarks
Teri Schwartz, Dean, UCLA School of Theater, Film, and Television
Denise Mann, Associate Professor/Head, Producers Program, UCLA School of Theater, Film and Television
Henry Jenkins, Provost's Professor of Communication, Journalism and Cinematic Arts, Annenberg School of Communication, USC
10:00--11:50 AM Panel 1: "Come Out 2 Play": Designing Virtual Worlds--From Screens to Theme Parks and Beyond
Hollywood has come a long way since Walt Disney, circa 1955, invited families to come out and play in the first cross-platform, totally merchandised sandbox--Disneyland. Cut to today and most entertainment corporations are still focused on creating intellectual properties to exploit across all divisions of the Company. However, as the studios and networks move away from the concrete spaces of movie and TV screens and start to embrace the seemingly limitless "virtual spaces" of the Web as well as the real-world spaces of theme parks, museums, and comic book conventions, the demands on creative personnel and their studio counterparts have expanded exponentially.
Rather than rely on old-fashioned merchandising and licensing departments to oversee vendors, which too often results in uninspired computer games, novelizations, and label T-shirts, several studios have brought these activities in-house, creating divisions like Disney Imagineering and Disney Interactive to oversee the design and implementation of these vast, virtual worlds. In other instances, studios are turning to a new generation of independent producers--aka "transmedia producers"--charged with creating vast, interlocking brand extensions that make use of a never-ending cycle of technological future shock and Web 2.0 capabilities.
The results of these partnerships have been a number of extraordinarily inventive, interactive, and immersive experiences that create a "you are there" effect. These include the King Kong 360 3D theme park ride, which incorporates the sight, smell, and thunderous footsteps of the iconic gorilla as he appears to toss the audience's tram car into a pit. Universal Studios and Warner Bros. have joined forces to create the Wizarding World of Harry Potter, a new $200 million-plus attraction at the Islands of Adventure in Florida.
Today's panel focuses on the unique challenges associated with turning traditional media franchises into 3D interactive worlds, inviting you to come out 2 play in the studios' virtual sandboxes.
Moderator: Denise Mann
Panelists will include:
Alex McDowell, Production Designer for Tim Burton and Zack Snyder (Corpse Bride, Watchmen)
Thierry Coup, Art Designer, Wizarding World of Harry Potter
Angela Ndalianis, Associate Professor and Head of the Cinema Studies Program at the University of Melbourne, Australia (Neo-Baroque Aesthetics and Contemporary Entertainment)
Bruce Vaughn, Chief Creative Executive, Disney Imagineering
12:00--1:50 PM Panel 2: "We're Looking For Characters": Designing Personalities Who Play Across Platforms
How is our notion of what constitutes a good character changing as more and more decisions get made on the basis of a transmedia logic? Does it matter that James Bond originated in a book, Spider-Man in comics, Luke Skywalker on screen, and Homer Simpson on television, if each of these figures is going to eventually appear across a range of media platforms?
Do designers and writers conceive of characters differently when they know that they need to be recognizable in a variety of media? Why does transmedia often require a shift in focus as the protagonist aboard the "mothership" often moves off stage as extensions foreground the perspective and actions of once secondary figures?
How might we understand the process by which people on reality television series get packaged as characters who can drive audience identification and interest or by which performers get reframed as characters as they enter into the popular imagination?
Why have so few characters from games attracted a broader following while characters from comics seem to be gaining growing popularity even among those who have never read their graphic adventures?
Moderator: Henry Jenkins
Panelists will include:
Joseph Ferencz, Strategy and Marketing Manager, Ubisoft
Geoff Johns, Chief Creative Officer of DC Entertainment
Alisa Perren, Assistant Professor, Georgia State University
Kelly Souders and Brian Peterson, Executive Producers of Smallville
2:00--3:00 PM
Lunch Break
3:00--4:50 PM Panel 3: Fan Interfaces: Intelligent Designs or Fan Aggregators?
Once relegated to the margins of society, today's media fans are often considered the "advance guard" that studio and network marketers eagerly pursue at Comi-Con and elsewhere to help launch virtual word-of-mouth campaigns around a favorite film, TV series, computer game, or comic book. Since tech-savvy fans are often the first to access Web 2.0 sites like YouTube, Wikipedia, and Second Life in search of a like-minded community, it was only a matter of time before corporate marketers followed suit. After all, these social networking sites provide media companies with powerful tools to manage fans and commit them to crowd-sourcing activities on Twitter, Facebook, and elsewhere.
Given the complexities and contradictions involved in negotiating between industry and audience interests, we will ask the game designers to explain their philosophy about the intended and unintended outcomes of their fan interfaces. Marketers clearly love it when fans become willing billboards for the brand either by wearing logo T-shirts or by dressing a favorite Madman avatar in the 1960s clothing, accessories and backgrounds on display on the AMCTV.com "Madmen Yourself" and then spreading the content through Facebook and Twitter.
What is the design philosophy behind a video game like Spore, which allows fans free range to create their own creatures and worlds but then limits their rights over this digital content? Who owns these virtual creations once they appear for sale on E-bay? These and other intriguing questions will be posed to the creative individuals responsible for designing many of these imaginative and engaging fan interfaces.
Moderator: Denise Mann
Panelists include:
Matt Wolf, Double 2.0, ARG/Game Designer
Avi Santos, Assistant Professor, Dominican College and Co-editor, FlowTV.com and In Media Res.com
5:00--6:50 PM
Panel 4: "It's About Time!" Structuring Transmedia Narratives
The rules for how to structure a Hollywood movie were established more than a century ago and even then, were inspired by ideas from earlier media -- the four-act structure of theater, the hero's quest in mythology. Yet, audiences and creators alike are still trying to make sense of how to fit together the chunks of a transmedia narrative. Industry insiders use terms such as mythology or saga to describe stories which may expand across many different epochs, involve many generations of characters, expand across many different corners of the fictional world, and explore a range of different goals and missions.
We might think of such stories as hyperserials, in so far as serials involved the chunking and dispersal of narrative information into compelling units. The old style serials on film and television expanded in time; these new style serials also expand across media platforms.
So, how do the creators of these stories handle challenges of exposition and plot development, managing the audience's attention so that they have the pieces they need to put together the puzzle? What principles do they use to indicate which chunks of a franchise are connected to each other and which represent different moments in the imaginary history they are recounting? Do certain genres -- science fiction and fantasy -- embrace this expansive understanding of story time, while others seem to require something closer to the Aristoltelian unities of time and space?
Moderator: Henry Jenkins
Panelists include:
Caitlin Burns, Transmedia Producer, Starlight Runner Entertainment
Abigail DeKosnik, Assistant Professor, University of California-Berkeley (Co-Editor, The Survival of the Soap Opera: Strategies for a New Media Era; Illegitimate Media: Discourse and Censorship of Digital Remix)
Jane Espensen, Writer/Producer: Buffy the Vampire Slayer, Battlestar Galactica, Torchwood.
John Platt, Co-Executive Producer, Big Brother, The Surreal Life
Tracey Robertson, Chief Executive Officer and Co-founder, Hoodlum
Lance Weiler, Founder, Wordbook Project
Justin Wyatt, Executive Director, Research at at NBCUniversal, Inc (High Concept: Movies and Marketing in Hollywood).
7:00 PM
Reception
Lobby, James Bridges Theater
Location
James Bridges Theater, UCLA School of Theater, Film, and Television
Registration
Faculty/Students:
Tickets are $5 for faculty and students of accredited institutions and will only be sold at the box-office of the UCLA Central Ticket Office and at the door on the day of the event (prior registration required). Valid university I.D. is required. Registration includes admission to conference and reception.
Contact
UCLA Producers Program
UCLA Department of Film, Television, and Digital Media
203 East Melnitz
Los Angeles, CA 90095
Phone: (310) 206-3761
Fax: (310) 825-3383
Email: producers@tft.ucla.edu
Web: www.tft.ucla.edu/producers
C3 Thinking, Transmedia Worldbuilding and The Deep World of Avatar
Many media studies scholars and creative professionals depend on the C3 blog (as well as Prof. Jenkins' blog, the CMS Program website and the blogs of our fellow CMS research projects) for the ideas which they can then apply to the intellectual, creative or market problem they are trying to get to the "next level". As I think everyone who has been on the team of this research project would agree, Prof. Jenkins' "framing and naming" of otherwise complex concepts into remarkably accessible written language and his always inspiring and engaging speaking style are at the core of his pedagogical style and intellectual modeling of how we do what we do here at C3 and CMS.
It is this C3 early warning system and pattern recognition of emergent cultural patterns, logics and phenomenology (in our case surrounding the circulation and distribution of old and new media) on which the success of the C3 research project is built.
Of course, because we frame it or name it, that does not mean we own it. In his opening remarks at last year's FOE4, Prof. Jenkins was quick to make this very point, specifically regarding the discourse on Transmedia: "Transmedia seems to be a word that means lots of different things to lots of different people...so we may refer to "cross-platform entertainment" or... "Deep Media" which is Frank Rose's term. As far as I am concerned, I don't care what you call it. What we're involved in is a shift in the way entertainment operates in our culture, but a shift that's been long term and I'll explain that it has a deeper history and I think the focus on newness maybe misleads us. But I am interested in the phenomenon and each of these words talks about different aspects of the phenomenon in different ways. They get at it in different ways. Maybe we should have a discussion about what those differences are. But I am not invested in a vocabulary war about what we christen this thing. I think it's much more interesting that we talk about it and try to figure out what is going on."
We know there is a remarkably passionate and loyal C3 blog community who is very appreciative of the way "C3 Thinking" inspires them, assists them and moves forward their media industries scholarship and creative projects to a whole new level. Call it what you want - brainstorming, ideation, praxis, pre-production, concept phase, theory and practice, research, outlining, strategic design, storyboarding, index card/post-it note hell, development or pre-visualization - "C3 Thinking" intervenes on and contributes to all of these early-stage project design processes (books, films, games, television programming, etc).
This blog entry is an effort to embrace Prof. Jenkins' most recent framing and naming endeavor - now known as the Seven Core Principles of Transmedia Storytelling. I thought it would be helpful to our readership to organize occasional blog entries in a very specific fashion around each of these core principles (Spreadability vs. Drillability; Continuity vs. Multiplicity; Immersion vs. Extractability; Worldbuilding; Seriality; Subjectivity; and Performance). I will also try to strike a balance in presenting the information for those who are internalizing core concepts surrounding transmedia for the first time and seasoned transmedia veterans.
I begin here with Worldbuilding (back story, story development, production design or concept development - again, call it what you will): it is easy when writing a script, designing a film or conceiving of a game to flinch on a true commitment to the design of and deployment of a deeply textured world filled with detail that does not directly service the core narrative or primary narrative objectives. Time and budget are usually the biggest elements working against building a deep world.
The reality is great worldbuilding must precede the storytelling. An early commitment to detail will communicate information beyond the purely functional elements required for the primary narrative - allowing entries points for transmediated narrative extensions of the primary media text and for the other core principles of transmedia to take further root.
With this primacy of a commitment to worldbuilding in mind, the following worldbuilding discussion is in the form of a video case study. First, two Charlie Rose interviews with James Cameron: Dec. 17, 2009 and Feb 10, 2010 where he discusses in detail the challenges of worldbuilding and a CBS 60 Minutes video segment (embedded below) about James Cameron and the production of Avatar - which depicts what was done with the unlimited creative, time, fiscal and human resources to build the deep, textured, detailed world of the primary cinematic text that is the 3D Film Avatar.
After this video piece, find two streaming videos of a conversation between Prof. Jenkins and Tron creator Steve Lisberger from back in February 2010. We include these 2 videos (of a total of 21) in this case study because the first video sets up a discussion of worldbuilding. The next video follows up with a discussion of the basic functions of transmedia extensions, what they might add to the upcoming Disney release Tron Legacy and ends with why Avatar is less successful at deploying transmedia than, say, District 9.
The hope here is that this overall discussion of the mode of production of Hollywood motion pictures at the level of the 'big tent pole' production will inform narrative best practices and economies of scale for other transmedia project in various other creative industries.
Most importantly, there are some interesting missed opportunities contextualized in this discussion which should be seized upon by transmedia theorists and producers both for further theoretical exploration and creative deployment.
For further brainstorming, see: Prof. Jenkins' FOE4 Keynote entitled "The Revenge of the Origami Unicorn: Seven Principles of Transmedia Storytelling", along with Henry's essay explaining each principle.
