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Transmedia Storytelling Strategy Transmedia Storytelling Strategy How and why producers use transmedia storytelling for competitive advantage. Cameron Cliff Bachelor of Film and Screen Media, Bachelor of Creative Industries (Honours) Principal Supervisor: Dr Jon Silver Associate Supervisor: Distinguished Professor Stuart Cunningham Submitted in fulfilment of the requirements for the degree of a Doctor of Philosophy School of Media, Entertainment and Creative Arts Faculty of Creative Industries Queensland University of Technology 2017 1 Keywords Transmedia, storytelling, strategy, competitive advantage, multiplatform, Hollywood, Lizzie Bennet Diaries, Pride and Prejudice, Sofia’s Diary, Doctor Who, BBC ii Abstract Storytelling in contemporary media production exists in a landscape of rapid and continuous change. Practitioners and scholars alike have been exploring different methods for success within this landscape, fixating on multiplatform strategies that blend together novel and traditional methods of telling their stories. As a result, transmedia storytelling, the strategy of creating an immersive world through the coordination of multiple, unique narratives, has enjoyed a place of prominence within media production research for the better part of the last decade. However, the concept of transmedia storytelling has become clouded by ‘semantic chaos’ (Scolari 2009). Investigations from different disciplines and industries have formed separate silos of research that have divided transmedia and left professionals questioning the relevance of transmedia storytelling to their practice. Using strategic management theory to coordinate research from across different disciplinary silos (media and cultural studies, marketing and advertising), this thesis conducts an original, interdisciplinary study of transmedia storytelling. It develops an audience engagement framework specific to transmedia projects and a lens for assessing the competitive advantage of different transmedia strategies. It then uses the lens to conduct three case studies of leading and successful transmedia projects; Doctor Who, Sofia’s Diary and The Lizzie Bennet Diaries. Comparing big-budget, franchises with small, innovative and independent story worlds, this thesis demonstrates how context, company goals and audience engagement objectives significantly influence the development of successful transmedia worlds. iii Statement of Original Authorship The work contained in this thesis has not been previously submitted to meet requirements for an award at this or any other higher education institution. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made. QUT Verified Signature iv Dedications & Acknowledgements I must start by thanking the one person, without whom, this thesis would never have taken shape or substance. To my principal supervisor Dr Jon Silver, thank you. Thank you for the months of re-writes, for the late nights and early morning notes, for the white-board sessions that guided me out of the wilderness and for the years of your life I have inevitably shaved off meeting deadlines. You encouraged me to reach beyond the boundaries of my discipline and you have always been in my corner. To both Jon and my associate supervisor, Distinguished Professor Stuart Cunningham, I must thank you both for taking the time to understand my motivations as well as my work, for your bluntness in providing feedback and for seeing this through from beginning to end. Stuart, your openness in discussing my research, the standards you set for my work and the perspective you provide has been invaluable. Of course, I must also acknowledge and dedicate a portion of this work to my family. To have a foundation that is unwavering and three people who will always be there is a rare occurrence and something I truly cherish. Mum, dad, Hannah, you have always encouraged my curiosity and supported my ambitions. In particular, Dr Cynthia Cliff, mum, thank you for constantly discussing theory with me, for countless spell-checks and for a genuine interest in my work. To those who have been there throughout my journey I must also give my thanks. Sue Swinburne, you have been a mentor, a teacher and a friend. Whenever I have needed help, even when I have not been able to recognise that myself, you have provided that support. To Associate Professor Trish Fitzsimmons, thank you for helping me start this journey. For encouraging me to study further and explore my passions, regardless of the university. Finally, to those who met with me on my journey I must acknowledge your kindness and give thanks for your insights. To Angelique Toschi, Jen Begeal, Steve Peters, Ivan Askwith, Simon Staffans and many more, I have not heard of another industry in which leading practitioners open their doors to a travelling stranger, welcoming them as one of their own. To every person I met on my travels, who showed me around their cities and their workplaces and answered my questions about the industry and their work, thank you. v Table of Contents Keywords .................................................................................................................................. ii Abstract ................................................................................................................................... iii Statement of Original Authorship ............................................................................................iv Dedications & Acknowledgements ........................................................................................... v Figures ............................................................................................................................... x Tables ............................................................................................................................... xi CHAPTER 1: INTRODUCTION ........................................................................................... 1 1.1 MOTIVATIONS FOR THIS STUDY ................................................................................ 2 1.2 PURPOSE OF THIS THESIS .......................................................................................... 3 1.3 THE GAP IN THE LITERATURE ..................................................................................... 6 1.4 ORIGINAL CONTRIBUTIONS OF THIS THESIS ............................................................ 7 1.5 THESIS OUTLINE ......................................................................................................... 8 1.7 CHAPTER SUMMARY ................................................................................................. 10 CHAPTER TWO: LITERATURE REVIEW .......................................................................... 11 2.1 TRANSMEDIA AND TRANSMEDIA STORYTELLING ................................................. 12 2.1.1 Transmedia Definitions .................................................................................................. 12 2.1.2 Context and History ........................................................................................................ 19 2.1.3 Media Platforms and Story Modes ................................................................................. 22 2.1.4 Section Summary ........................................................................................................... 25 2.2 CONVERGENCE CULTURE AND AUDIENCE ENGAGEMENT .................................... 26 2.2.1 Defining Audience Engagement within a Transmedia Setting ..................................... 27 2.2.2 Challenging the Assumptions of Convergence Culture ................................................. 32 2.2.3 Section Summary ........................................................................................................... 37 2.3 LITERATURE REVIEW: STRATEGY THEORY ............................................................. 38 2.3.1 Defining Strategy – historical context ............................................................................ 38 2.3.2 Finding a Strategic Framework Relevant to Transmedia Storytelling .......................... 40 2.3.3 Porter and Transmedia Storytelling Strategy ................................................................ 42 2.3.4 Forming Strategies ......................................................................................................... 51 2.4 CHAPTER SUMMARY AND GAPS IN THE LITERATURE ............................................ 52 CHAPTER 3: METHODOLOGY ........................................................................................ 55 3.1 CONSTRUCTING THE THEORETICAL LENS .............................................................. 56 3.1.1 Form of Transmedia Storytelling Strategy .................................................................... 58 vi 3.1.2 Why Choose Transmedia Storytelling as a preferred Strategy? ................................... 59 3.1.3 Transmedia Storytelling Strategy and Audience Engagement ..................................... 62 3.1.4 Competitive Advantage .................................................................................................. 68 3.1.5 Section Summary ........................................................................................................... 71 3.2 DATA COLLECTION: CASE STUDY, INTERVIEW AND LITERATURE ........................ 72 3.2.1 Semi-Structured Interviews ...........................................................................................
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