What is media convergence?

1. Media
Convergence

2. Media
Convergence
We
are
living
in
an
age
when
changes
in
communica2ons,
storytelling
and
informa2on
technologies
are
reshaping
almost
every
aspect
of
contemporary
life,
including
how
we
create,
consume,
learn,
and
interact
with
other.
Ruth
Contreras
@ruthso=ia

3. Media
Convergence
Strategy
in
which
communica2ons
companies
seek
financial
benefit
by
making
the
various
media
proper2es
they
own
work
together.
The
strategy
is
a
product
of:
1) Corporate
concentra9on,
whereby
fewer
large
companies
own
more
and
more
media
proper2es;
2)
Digi9za9on,
whereby
media
content
produced
in
a
universal
computer
language
can
be
easily
adapted
for
use
in
any
medium;
3)
Media
conglomerates
to
own
different
kinds
of
media
(television
and
radio
sta2ons
and
newspapers)
in
the
same
markets
and
which
has
permiHed
content
carriage
companies
to
own
content
producers
(specialty
TV
channels).
Ruth
Contreras
@ruthso=ia

4. How
new
technology
affects
business
and
culture?
Why
the
web
is
so
much
beDer
than
TV?
Ruth
Contreras
@ruthso=ia

6. Transmedia
Storytelling
1.
Represents
a
process
where
integral
elements
of
a
fic2on
get
dispersed
systema2cally
across
mul9ple
delivery
channels
for
the
purpose
of
crea2ng
a
unified
and
coordinated
entertainment
experience.
Ideally,
each
medium
makes
it
own
unique
contribu2on
to
the
unfolding
of
the
story.
Ruth
Contreras
@ruthso=ia

7. Transmedia
Storytelling
The
Matrix
franchise,
are
conveyed
through
three
live
ac2on
films,
a
series
of
animated
shorts,
two
collec2ons
of
comic
book
stories,
and
several
video
games.
There
is
no
one
single
source
or
ur-­‐text
where
one
can
turn
to
gain
all
of
the
informa9on
needed
to
comprehend
the
Matrix
universe.
Ruth
Contreras
@ruthso=ia

11. Transmedia
Storytelling
2.
A
transmedia
text
does
not
simply
disperse
informa9on:
it
provides
a
set
of
roles
and
goals
which
readers
can
assume
as
they
enact
aspects
of
the
story
through
their
everyday
life.
Ruth
Contreras
@ruthso=ia

13. Transmedia
Storytelling
Performa2ve
dimension
at
play
with
ac9on
figures
which
encourage
children
to
construct
their
own
stories.
Ruth
Contreras
@ruthso=ia

14. Ruth
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@ruthso=ia

15. Transmedia
Storytelling
3.
Transmedia
stories
are
based
not
on
individual
characters
or
specific
plots
but
rather
complex
fic9onal
worlds
which
can
sustain
mul9ple
interrelated
characters
and
their
stories.
This
process
of
world-­‐building
encourages
an
encyclopedic
impulse
in
both
readers
and
writers.
We
are
drawn
to
master
what
can
be
known
about
a
world
which
always
expands
beyond
our
grasp.
Ruth
Contreras
@ruthso=ia

17. Transmedia
Storytelling
4.
Extensions
may
serve
a
variety
of
different
func2ons.
The
extension
may
provide
new
insights
into
the
characters
and
their
mo2va2ons.
The
extension
may
provide
also
mass-­‐market
spoofs,
parodies.
Ruth
Contreras
@ruthso=ia

18. Aus9n
Powers:
The
Spy
Who
Shagged
Me

19. Ruth
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20. Ruth
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22. Transmedia
Storytelling
5.
Prac9ces
may
expand
the
poten9al
market
for
a
property
by
crea2ng
different
points
of
entry
for
different
audience
segments.
Ruth
Contreras
@ruthso=ia

23. Transmedia
Storytelling
A
story
in
ways
that
will
be
par9cularly
aDrac9ve
to
female.
Ruth
Contreras
@ruthso=ia

25. Ruth
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26. Transmedia
Storytelling
6.
Merchandising.
Ruth
Contreras
@ruthso=ia

28.
Par9cipatory
culture
/
Fan
Culture
The
New
Consumers

29. Media
convergence
is
not
a
technological
endpoint.

30. Par9cipatory
culture
1.
The
term
is
intended
to
contrast
with
older
no2ons
of
media
spectatorship.
In
this
emerging
media
system,
what
might
tradi2onally
be
understood
as
media
producers
and
consumers
are
transformed
into
par9cipants
who
are
expected
to
interact
with
each
other
according
to
a
new
set
of
rules
which
none
of
us
fully
understands.
Henry
Jenkings
Ruth
Contreras
@ruthso=ia

31. Ruth
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32. Par9cipatory
culture
As
technology
con2nues
to
enable
new
avenues
for
communica2on,
collabora9on,
and
circula9on
of
ideas,
it
has
also
given
rise
to
new
opportuni9es
for
consumers
to
create
their
own
content.
Barriers
like
2me
and
money
are
beginning
to
become
less
significant
to
large
groups
of
consumers.
Ruth
Contreras
@ruthso=ia

33. Ruth
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34. Par9cipatory
culture
Principal
characteris9c:
Not
every
member
must
contribute,
but
all
must
believe
they
are
free
to
contribute
when
ready
and
that
what
they
contribute
will
be
appropriately
valued.
Henry
Jenkings
Ruth
Contreras
@ruthso=ia

35. The
community
itself
provides
strong
incen2ves
for
expression
and
ac2ve
par2cipa2on.

37. Par9cipatory
culture
as
one:
1.
With
strong
support
for
crea9ng
and
sharing
one’s
crea2ons
with
others.
2.
With
some
type
of
informal
mentorship
whereby
what
is
known
by
the
most
experienced
is
passed
along
to
novices.
3.
Where
members
believe
that
their
contribu9ons
maDer.
4.
Where
members
feel
some
degree
of
social
connec9on
with
one
another
(at
the
least
they
care
what
other
people
think
about
what
they
have
created).

38. Par9cipatory
culture
Jenkins
argues
that
younger
consumers
are
adept
at
tracking
down
character
backgrounds
and
side-­‐plots,
and
then
making
connec9ons
across
many
different
texts
of
a
franchise.
The
World-­‐Wide-­‐Web
is
a
powerful
distribu9on
channel.
Ruth
Contreras
@ruthso=ia

39. Ruth
Contreras
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40. Par9cipatory
culture
If
Internet
create
a
venue
for
greater
audience
tele-­‐par2cipa2on
(fan
fic9ons),
they
also
enable
television
networks
to
capitalize
on
consumers’
par9cipatory
ac9vi9es,
genera9ng
higher
ra9ngs
and
brand
awareness.
Ruth
Contreras
@ruthso=ia

41. Fan
Culture
As
Levy
explains,
“the
members
of
a
community
search,
inscribe,
connect,
consult,
explore……Not
only
make
available
to
the
collec2ve
intellect
all
of
the
per2nent
knowledge
available
to
it
at
a
given
moment,
but
it
also
serves
as
a
site
of
collec2ve
discussion
and
development”.
Ruth
Contreras
@ruthso=ia

42. Fan
Culture
Baym
argues:
“A
large
group
of
fans
can
do
what
even
the
most
commiHed
single
fan
cannot:
accumulate,
retain,
and
con2nually
recirculate
unprecedented
amounts
of
relevant
informa9on…….
par2cipants
collabora2vely
provide
all
with
the
resources
to
get
more
story
from
the
material”.
Ruth
Contreras
@ruthso=ia

43. fan
fic2on
/
fanfic
/
fan
culture

44.
Narra9ve
strategies
In
contemporary
media
produc9on
Ruth
Contreras
@ruthso=ia

45. New
users/readers/viewers/consumers
If
‘we’re
are
modelled
by
the
media’
(McLuhan),
then
digital
interac2ve
media
have
created
a
new
user/reader
that
deals
with:
Interac9vity
Networks
Mul9-­‐screens
Fast
adapta9on
to
interfaces
Ruth
Contreras
@ruthso=ia

46. Transmedia
stories
at
the
most
basic
level
‘are
stories
told
across
mul2ple
media.
At
the
present
2me,
the
most
significant
stories
tend
to
flow
across
mul2ple
media
pladorms’
(Jenkins
et
al.,
2006).
Synonyms:
cross
media
(Bechmann
Petersen,
2006)
mul2ple
pladorms
(Jeffery-­‐Poulter,
2003)
hybrid
media
(Boumans,
2004)
intertextual
commodity
(Marshall,
2004)
transmedial
worlds
(Klastrup
&
Tosca,
2004)
transmedial
interac2ons
(Bardzell
et
al.,
2007)
mul2modality
(Kress
&
van
Leeuwen,
2001)
intermedia
(Higgins,
1966).

47. Media-­‐centrality:
• TV-­‐centered
transmedia
storytelling
(24
or
Lost)
• Book-­‐centered
transmedia
storytelling
(Harry
PoHer)
• Comic-­‐centered
transmedia
storytelling
(Batman
or
Spiderman)
• Cinema-­‐centered
transmedia
storytelling
(The
Matrix)
The
‘media-­‐centrality:
The
first
text?
The
most
successful?
The
most
important
narra2ve?

49. Television
Comics
Books
Webisodes
Mobile
game
Videogame
Card
game
McFarlane
Toys
Complete
kit

50. 24
Timeline
Media

51. Thank
you
;)
TwiDer
@ruthsoZia