4. BIG BROTHER
• Reality TV shows, were one of the first formats
to experiment with Transmedia storytelling.
• Television.
• Internet.
• Audio.
• Landline phones.
• Mobile phones (texting)
• Tabloid press.
5. WHAT WE’VE LEARNT IN COURSE:
• Lecture 3, Christy Dena Reading
• ‘Negative capability’: “uncertainty, Mystery, or doubt” in the audience’.
6. BIG BROTHER:
EVANS- TRANSMEDIA TELEVISION
Evans, E 2011, Transmedia Television: Audiences, New Media, and Daily Life, New York,
Routledge. (Pg 40)
• Big Brother involves ‘tele-participation’.
• These shows have developed a history of incorporating processes of
transmediality, utilising the internet and telecommunication devices to allow the
audience direct input in the construction of the programme.
• Estella Tincknell and Parvati Raghuram, in their discussions of Big Brother, argue
that “rather than being confined to a single television show, the programme itself
offered multiple sites for the production of meaning” (2004:261)
• The viewer could watch on television, or via the website, and then participate in
deciding who should leave the programme via their mobile or landline phone.
• The use of new media technology alongside the television has formed a central
part of the engagement with this particular style of reality programming.
7. SARAH’S READING
Evans, E 2011, Transmedia Television: Audiences, New Media, and Daily Life, New York,
Routledge. (Pg 40,
• Emerging new media technologies are leading to the creation of new forms of
narrative content and audience engagement.
• Audiences response and their ability to “willingly integrate Transmedia” (gaming,
mobile television, downloaded episodes)
• What viewers want or how they will engage with a multiplatform text beyond the
initial phase.
• Transforming the traditional definition of television and its specific characteristics.
• How audiences are “engaging with extensions of a television text” and how they
engage with initial core episodes.
• How does it relate to BB?
8. ZOE’S READING
• Carlos Scolari’s Transmedia Storytelling: Implicit Consumers, Narrative
Worlds, and Branding in Contemporary Media Production.
• Trans-media storytelling through the perspective of semiotics
• Has given storytellers the ability to create “heavyweight narrative brands”.
• 24 proposed a complex “semiotice device for generating multiple implicit
media consumers” which are classified in 3 levels:
• o single text consumers
• o single media consumers
• transmedia consumers
• based on these levels, the storyteller needs to create various entrypoints
into their story in order to appeal to a wide range of audiences.
• “fiction is the brand” expressed through characters, topics and aesthetic
style of the functional world.
