Do their own advantage? In the current age

Do the media
industry use transmedia storytelling for their own advantage? In the current
age of media, transmedia storytelling is an important technique and the most
common tool used for the production and distribution of media for audience
engagement and introducing a greater experience for media consumers. It first
emerged in 1990 and can also be known as cross media storytelling. With the trend and wide spread
of media convergence in todays media industry, the ways in audiences interact
with them has changed massively. Storytellers now can
create a much better experience for their audience by unveiling the stories on
multiple platforms.

 

Transmedia storytelling is the system in the media
industry for designing, sharing and and creating a much whole and better experience
across multiple platforms for entertainment, advertising and marketing. Henry
Jenkins is a Professor of Communication, Journalism. Cinematic Arts and
Education. He is the author and editor of seventeen books that are based around
the media and popular culture. Henry Jenkins writes about how transmedia storytelling is “a process
where integral elements of a fiction get dispersed systematically across
multiple delivery channels for the purpose of creating a unified and
coordinated entertainment experience. Ideally, each medium makes its own unique
contribution to the unfolding of the story” (2007). Henry Jenkins then moves on
to write about stories that “unfold across multiple media platforms” (2006: 95)
and how transmedia stories unfolds across multiple media platforms, with each
new text making a unique and valued contribution to the entirety. In the ideal
form of transmedia storytelling, each does what it does best – so that a story
might be introduced in a film, expanded through television, novels, and comic
(2006: 95-96). Whilst, Thomas (2015) was more descriptive, including the
various platforms we now have available to us. She brought up that “various
forms of media – exhibition screens, mobile phone apps, tablets, the web – that
combines personal narrative with innovative storytelling techniques to invite
audiences to connect to a story across multiple platforms”. This writing will
intend to analyse relevant media and text around transmedia storytelling and
also look at how transmedia storytelling has benefitted the audiences
experience of consuming media and also how the media industry has improved with
the producing, marketing and distribution of media with the advancement of
technology. The literature around transmedia storytelling suggests it controls
the media users and captivates their engagement.  One strategy in particular, transmedia
storytelling, has enjoyed a place of prominence across media and cultural
studies, advertising and marketing research (Fast, O?rnebring: 2015).

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Geoffrey Long is a
storyteller and transmedia enthusiast at the Media Arts and Practice program at
a school of Cinematic Arts. Long (2011) looked at transmedia storytelling and
identified that it improves audience satisfaction. Transmedia storytelling has
many benefits for media production with, enhanced longevity and commercial
success of story worlds (Hardy: 2011), and more interesting and enjoyable
academic environments and offer more meaningful and authentic ways to better
engage the sensors of learners (Wankel, Blessinger: 2013) and then create “a
whole that is greater than the sum of its parts” (Gambarato, 2012).

 

Henry Jenkins
argues that successful transmedia texts must create a rich, encyclopaedic
fictional universe with enough gaps in the open-ended narrative for different texts
to fill in the spaces (2007). He explains that the narrative has to offer
enough space for media consumers to want to then fill them in themselves,
engaging with the media and contributing to the story to their full ability. Cross
media ownership is when all media products are owned by one producer. It began
in the 1980’s and helped push convergence culture and media conglomerates in
the right direction to benefit the media industry and consumers when it came to
the production of films and television. Cultural convergence is for describing
the appearance of transmedia consumption. Henry Jenkins describes it as a shift
in the logic by which culture operates, emphasizing the flow of content across
media channels (2006: 323). Henry Jenkins argues that in convergence culture “every important story gets told, every brand gets
sold, every consumer gets courted across multiple media platforms.”
(2006), and this results in the producers and consumers being able to interact,
and consumers becoming more active. Transmedia storytelling and
transmedia interactivity are new approaches to telling our stories and
activating consumer engagement. For producers to achieve audience engagement, they must first achieve
transmedia interactivity. However, transmedia interactivity can be very
challenging but has the greatest reward of audience engagement. Beddows (2012), interviewed a number of transmedia enthusiasts and
they all brought up that they wanted to feature consumer interactivity into their
work.

 

Conclusions

After analysing
the existing literature and text on transmedia storytelling, I have found
explanations for audience engagement and why the media industry chooses
transmedia storytelling as a strategy for marketing and production. To conclude, I feel
future studies and the development of technology and media strategies will
impact media platforms and increase the audiences level of engagement and
interaction. It is clear from the literature I have examined that the current transmedia
operation structure is well suited to the current state of the internet.