The Change of the Trans-Media, Its Effect on Consumer Behavior - Coursework Example

How has Transmedia changed over the years and how has it affected the consumer behaviour? .. Introduction: Sasaki says “As transmedia storytelling one may understand it as a story told throughout different media, with exclusive content pointing back to the main narrative, working as a potential new audience entry-point.” (Sasaki, 2012: 2) Transmedia is storytelling across several platforms which may be Television, movies or even Video Games and comic books or music videos. (Edwards, 2007: 1). The content used in transmedia story-telling is unique and it adds to the overall scheme of things. (Davis, 2013: 175). Andrea Philips (2012) says that transmedia may involve either one of two approaches; either one story is spread across various media, or, a story is told on one type of medium (For example TV) and continuously added upon. (Philips, 2012: 15). The concept of transmedia storytelling was first introduced to the public in 1999, through a low-budget but highly profitable movie called the “The Blair Witch Project” (Jenkins, 2006: 101). The Blair Witch Project developed experience is anything other than a cunning marketing campaign; an incredible converse, actually, since it ended up being a splendid element in the films prosperity. Filmmaker Mike Monello is resolute that the expanded world they made was more about symbolization than all else. (Philips, 2012). This paper discusses the History and development of transmedia in films, and the way it has impacted consumer behavior. Transmedia in Films: Transmedia is the new buzzword. Its utilized to portray how organizations will create new brands and doorway, teach and immerse a worldwide audience. On the off chance that you Google "transmedia" you see that it is moving from its primarily savvy setting (talked about, for instance, in Henry Jenkins 2006 book "Union Culture") into the standard. Gomezs vision for whats to come is of excitement ideas that touch shoppers by means of dissimilar media in the meantime, drenching the purchaser so profoundly in a specific world that “you will want another hit of that thrilling, dreamlike experience." (Sam, 2010: 10) Transmedia has been developed inside the Hollywood framework fundamentally through a rationale of advancement, audience building, and engagement, offering the perfect apparatuses for catching the creative ability of organized audiences through the making of engrossing and broad conjured up universes. As transmedia has spread as far and wide as possible, particularly to nations with a much stronger custom of open media, these same practices have been held onto as a methods not of building anecdotal domains however of changing the world: (Jenkins, 2013) As publicists try to develop their own brand groups as a method for fashioning solid affiliations with their purchasers, a lot of people are grasping reason based promoting. Simultaneously, these brand advertisers are distinguishing youthful viewers ability for urban engagement and political support, one of the signs of the Generation Y era. While some of the time these brand messages wind up propelling social developments, in different occurrences, they basically co-opt these imparted generational concerns. (Jenkins, 2013). Educational methodologies to diversion, famous over the creating scene, are presently reaching out crosswise over numerous media stages to permit fans to create a deeper understanding of wellbeing and social approach issues as they dive deeper into the back stories of their most loved characters. Elective actuality recreations, which look to energize grassroots support as a promoting apparatus, have moved from tackling riddles to activating players to face certifiable issues. Fan systems, composed to help and push most loved media establishments, are undertaking the test of preparing and activating the up and coming era of youthful activists, utilizing their ability as thought pioneers to reshape the consideration economy by expanding open consciousness of shared concerns. (Jenkins, 2013) Nonprofit associations are progressively thinking like entrepreneurial new businesses and the other way around, as youngsters are beginning associations which grasp the idea of the "customer citizen" displaying ways that social-change deliberations might be inserted inside the ordinary lifestyles of their supporters. (Jenkins, 2013). Marketing experts are persuaded that this era of new innovation clients has now arrived at a basic mass in numerical terms, and that their consumer behavior is uniquely diverse. The accompanying parts of new buyer practices could be highlighted: a) a more participative and dynamic mentality as for varying media and diversion substance (client produced substance); b) multi-tasking abilities; c) new types of standardizing through virtual groups; d) an inclination for adaptability and compactness over quality in purchaser use –"platform agnostics", in the expressions of David Denby, the eminent film pundit at The New Yorker ; e) new shopper conduct as an impetus for the making of new market corners (low request, customized and exclusively custom-made utilization); and f) flighty understandings of the free flow of varying media material (piracy). (Pardo, 2012). Hollywoods form of transmedia has been engrossed with rousing fan engagement, frequently connected to the special methods for the arrival of enormous plan media. Anyhow, as transmedia has spread to parts of the world which have been ruled by open administration media, there has been an expanded measure of experimentation in ways that transmedia strategies could be sent to support community engagement and social mindfulness. These transmedia activities might be seen as a feature of a bigger move to movement from comprehension open media as serving publics towards a more dynamic mission in social occasion and activating publics. These activities might likewise be seen as a broadening of the amusement instruction standard into the transmedia domain, where the objective movements from illuminating to open towards getting individuals partaking in exertions to make change in their own particular groups. In a few cases, these makers are making transmedia as a feature of bigger documentary tasks, however in others; transmedia is making connections between anecdotal substance and its true suggestion Transmedia and DISTRICT 9: District 9 was probably the best film released in the 2009 period between June through August time frame and one of the best science fiction films to be released lately. It raised a high bar for Avatar, the Surrogates, and a percentage of the other SCIENCE FICTION films which we are expected for fall release that year. Yet the film did not come out of nowhere "up either as in those of us who take after the genre nearly didnt have any acquaintance with it was advancing or as in it is a completely "unique" work which exceeds our expectations of science fiction. (Jenkins, 2013) A large number of film pundits sound very nearly stunned that science fiction could be conveyed as a genre for investigating genuine and opportune social issues, (Jenkins, 2013) for instance, ignoring more than a hundred years of such investigation in abstract SCIENCE FICTION. Jenkins says that: “As someone who has taught science fiction courses off and on for the past 20 years, I wanted to situate District 9 over the next two installments in two important conversations — one about transmedia branding and the other about race and science fiction.” (Jenkins, 2013) The motivation behind why the film wouldnt have gotten numerous who took after science fiction off guard that it has been the center of a transmedia promoting crusade for a year ahead of time of the films release. Signs disallowing nonhuman utilization of restrooms surfaced at Comic-Con a year back. By the beginning of the June through August timeframe, such signs were showing up on park seats, the sides of transports, and in a mixture of different contexts around real urban areas. Here, the makers and promoters doubtlessly took some spark from the crusade which Campfire Media produced for the launch of True Blood the previous summer. (Jenkins, 2013) Use of Transmedia in ‘HOLLOW’ (a documentary by Elaine McMillion): McMillion used only the internet to promote this documentary film (Hollow). The interactive documentary closely follows the “stories of residents of McDowell County, in rural southern West Virginia, and their transition and struggles from a coal-based economy.” (Kadish, 2013). Empty consolidates feature pictures of McDowell occupants, client created substance, photography, music, and intuitive information all in a Html5 site. Every individuals story remains solitary, additionally cooperates. In entirety, there are more than three hours of substance and 30 characters. (Kadish, 2013) Its the UX, the client experience, composed by Jeff Soyk that ties this all together. Soyk composed the site so that the client spans down to advancement through the story. This descending draw is suggestive of the entering a coalmine or, maybe, the decrease in McDowell’s populace from its crest in the 1950s to the present. Music and sound impacts from the region play a very important part to the storyline as well. (Kadish, 2013)The UX is straightforward, yet immersive and true to life. It directs the client to discover every story and to pick where to click, whether on data, photographs, or features, some shot by McMillion, and some by the McDowell group. To the create group content, McMillion raised money on Kickstarter for five Polaroids and prepared 15-20 inhabitants in how to utilize them. Every one shot what intrigued her or him. The site has a programming group behind it, also, who coded Soyks designs and McMillan’s contents. (Kadish, 2013) According to filmmaker, Anjali Nayar (This is My Backyard/Logs of War): “Interactive documentaries differ from film because, not only are we building the story through images and sound, but also the infrastructure (technology) to support it. Its a big blank canvas for creation. And, of course, filmmakers and coders are completely different breeds, so its also a really crazy anthropological exercise as well.” (Kadish, 2013) Conclusion: Crossmedia and transmedia are pivotal. In spite of the fact that these phenomena are more established than in some cases contended, the affordances of digital network media have profoundly enhanced the way of crossmedia systems of media commercial enterprises. As per what is indicated crossmedia is a rising practice that emerges as one of the center wellsprings of multifaceted nature and development for new and modernizing societies. (Ibrus and Scholari, 2012). Consistently, print and online exchange magazines and news sources tout advancements in web publicizing, marking, and showcasing. (Tuten, 2008) Seismic movements in the business like significant publicists setting up shop in Second Life and other exchange substances have constrained advertisers and promoters, primed or not, to utilize new publicizing models. Anyhow the potholes for publicists utilizing Web 2.0 are a lot of people, and slips by organizations that dont comprehend the new manager of the diversion ensure lost time and cash sick used. Publicizing 2.0 guarantees that book fans comprehend the promoting choices conceivable in the web environment gives illustrations of organizations utilizing these alternatives, and offers rules for their requisition. (Tuten, 2008). Sealey and Dekom (2003) question, “How has Hollywood responded to the huge changes afoot? Unfortunately, not very well so far. First, Hollywood has ignored the facts both inside and outside the industry… [It] has fought to put the technological genie back in the bottle. The Hollywood approach: change must be legislated or litigated to a stop” (Sealey and Dekom, 2003: 2-3). Lister et al (2003) argue that with the emergence of new media, especially digital media, the onus is on Producers to continually innovate in order to be successful. By carefully examining the role of new media, they believe one can be saved from “technological essentialism” (Lister et al, 2003: 13). Not very far in the past consumers were observers, uninvolved consumers of mass media. (Rose, 2011). With the emergence of YouTube, Facebook Twitter etc., the consumers have become media. The role of the consumer has become interactive with respect to Television shows, movies and especially advertising. (Rose, 2011). However, the move from analogical to digital has been moderate. At the start of the new millennia, the collusion between Hollywood and Silicon Valley got to be more powerful. Innovative organizations were looking to make Hollywood connections and various industry players moved to dot com organizations. (Pardo, 2012). References: Davis, C.H. (2013) Audience Value and Transmedia Products, Media Innovations, pp. 175-190. Edwards, L.H. (2007) Transmedia Storytelling, Corporate Synergy, and Audience Expression, Global Media Journal, vol. 12, no. 20, Spring, p. 12. Ibrus and Scholari (2012) Crossmedia Innovations: Texts, Markets, Institutions ISBN-10: 3631622287, Peter Lang GmbH. Jenkins, H. ( 2006) Convergence Culture: Where Old and New Media Collide ISBN: 0814743072, 9780814743072, New York: NYU Press. Jenkins, H. (2013) Transmedia Hollywood 4: Spreading Change, 15 Feb, [Online], Available: http://henryjenkins.org/2013/02/announcing-transmedia-hollywood-4-spreading-change.html [09 April 2014]. Kadish, M. (2013) TFI Transmedia Case Study: "Hollow", 29th July, [Online], Available: http://www.aivf.org/magazine/2013/07/Tribeca-Film-Institute_transmedia_grantees_Elaine-McMillion_Hollow [19th May 2014]. Lister et al (2003) New Media: A Critical Introduction ISBN-10: 0415223784, London/New York: Routledge. Pardo, A. (2012) Hollywood and the Digital Revolution: New Consumers, New Markets, New Business Models, Mise au point [En ligne], 4 | 2012, mis en ligne le. Philips, A. (2012) A Creators Guide to Transmedia Storytelling, McGraw Hill. Rose, F. (2011) The Art of Immersion: How the Digital Generation Is Remaking Hollywood, Madison Avenue, and the Way We Tell Stories, 2012th edition, W. W. Norton & Company. Sam, P. (2010) Transmedia: What Weve All Been Waiting For?, License! Global. , Vol. 13 Issue 9, p10-10. 1p. , Nov/Dec. Sasaki, D.M. (2012) TRANSMEDIA STORYTELLING AND LOST PATH TO SUCCESS, University of Jyväskylä; Department of Art and Culture Studie, p. 137. Sealey and Dekom (2003) Not on My Watch: Hollywood vs. the Future ISBN-10: 1893224953, First Edition edition, New Millennium Press. Tuten, T.L. (2008) Advertising 2.0: Social Media Marketing in a Web 2.0 World, Greenwood Publishing Group. Read More