DOCSLIB.ORG

Entertainment Architecture

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Entertainment Architecture Entertainment Architecture Constructing a Framework for the Creation of an Emerging Transmedia Form by Adalbert (Woitek) Konzal Dipl.-Kfm. European Business School, Oestrich-Winkel, Germany A dissertation presented in fulfilment of the requirements for the degree of Doctor of Philosophy ARC Centre of Excellence for Creative Industries and Innovation Creative Industries Faculty Queensland University of Technology Brisbane, Australia 2011 Adalbert (Woitek) Konzal Entertainment Architecture Keywords film movie transmedia entertainment transmedia storytelling pervasive games ubiquitous games agency form evolution entrepreneurship business industry creative destruction marketing promotion — II — Adalbert (Woitek) Konzal Entertainment Architecture Abstract This thesis investigates the radically uncertain formal, business, and industrial environment of current entertainment creators. It researches how a novel communication technology, the Internet, leads to novel entertainment forms, how these lead to novel kinds of businesses that lead to novel industries; and in what way established entertainment forms, businesses, and industries are part of that process. This last aspect is addressed by focusing on one exemplary es- tablished form: movies. Using a transdisciplinary approach and a combination of historical analysis, industry interviews, and an innovative mode of ‘immersive’ textual analysis, a coherent and comprehensive conceptual framework for the creation of and re- search into a specific emerging entertainment form is proposed. That form, products based on it, and the conceptual framework describing it are all re- ferred to as Entertainment Architecture (‘entarch,’ for short). The thesis charac- terises this novel form as Internet-native transmedia entertainment, meaning it fully utilises the unique communicative characteristics of the Internet, and is spread across media. The thesis isolates four constitutive elements within Entertainment Architec- ture: story, play, ‘dance,’ and ‘glue.’ That is, entarch tells a story; offers playful interaction; invites social interaction between producer and consumer, and amongst consumers (‘dance’); and all components of it can be spread across many media, but are so well interconnected and mutually dependent that they are perceived as one product instead of many (‘glue’). This sets entarch apart from current media franchises like Star Wars or Halo, which are perceived as many products spread across many media. Entarch thus embraces the commu- nicative behaviour of Internet-native consumers instead of forcing them to de- sist from it, it harnesses the strengths of various media while avoiding some of their weaknesses, and it can sustain viable businesses. The entarch framework is an innovative contribution to scholarship that al- lows researchers to investigate this emerging entertainment form in a structured way. The thesis demonstrates this by using it to survey business models appro- priate to the entarch environment. The framework can also be used by enter- tainment creators — exemplified in the thesis by moviemakers — to delimit the room for manoeuvre available to them in a changing environment. — III — Adalbert (Woitek) Konzal Entertainment Architecture Supplementary DVD This thesis describes an emerging entertainment form that, really, needs to be engaged with to be fully understood. Unfortunately, a written description — as provided on the following 252 pages — does not make such engagement pos- sible. The thesis is therefore complemented by a DVD (to be found on the in- side of the back cover), which offers videos that have been created by various artists to better convey what their products based on this form are about. Of course, even such videos cannot make real engagement possible, but they make the form and the thesis a little more accessible. Whenever, therefore, a video exists that well illustrates an entertainment product described in the thesis, the DVD is mentioned — at first sparingly and then extensively throughout the thesis. The video files on the DVD are named after the in-text citations. Furthermore, Appendix D Mentioned Entertainment Products lists all entertainment products that are referred to in the thesis and mentions the DVD where appropriate. All of these videos can also be watched online under the URLs provided in the Bibliography, but the DVD makes watching the most interesting ones more convenient. All videos can be played back using the latest versions of Windows Media Player, Quicktime Player, or VLC Media Player. Windows and Mac installers of the latest VLC Media Player version are provided on the DVD or can be down- loaded from www.videolan.org — for those readers who wish to install one of the most versatile media players on their computers. — IV — Adalbert (Woitek) Konzal Entertainment Architecture Table of Contents Keywords II Abstract III Supplementary DVD IV List of Figures VI List of Abbreviations VII Statement of Original Authorship VIII Acknowledgements IX Chapter 1: Introduction 1 1.1 Research Design 10 Chapter 2: From Storytelling to Entertainment 35 2.1 Evolution and Storytelling 38 2.2 The History of Storytelling 45 2.3 Internet and Storytelling 51 2.4 What is Entertainment? 69 Chapter 3: Entertainment Architecture (Entarch) 81 3.1 The Four Elements of Entarch 84 3.2 Entarch Bible 94 3.3 The Entertainment Architect (EA) 114 Chapter 4: Entarch Business Models 119 4.1 Contractual Relationships 121 4.2 Freemium 138 4.3 Sale 140 4.4 Subscription 154 4.5 Rental 156 4.6 Free 157 Chapter 5: Entarch Industry 179 5.1 Entrepreneurship and Creative Destruction 179 5.2 The Young Entarch Industry 185 Chapter 6: From Movies to Entarch? 217 Chapter 7: Conclusions 229 7.1 Loose Ends? – Implications for Further Research 244 Appendices 253 A Interviews Round One — Questionnaire 253 B Interviews Round Two — Questionnaire 255 C Survey — Questionnaire 259 D Mentioned Entertainment Products 271 Bibliography 279 — V — Adalbert (Woitek) Konzal Entertainment Architecture List of Figures Chapter 1: Introduction Figure 1: Movie, (feature) film, video, and motion picture 29 Figure 2: Entarch and related concepts 32 Chapter 2: From Storytelling to Entertainment Figure 3: Photo of a photo of the Jewelled Nights film crew 42 Figure 4: The immense impact of sound 44 Figure 5: Comparison of communication technologies 52 Figure 6: “What is transmedia?” 56 Figure 7: What is (Internet-native) (transmedia) entertainment? 66 Chapter 3: Entertainment Architecture (Entarch) Figure 8: Entarch in relation to (Internet-native) (transmedia) entertainment 81 Figure 9: In-character preacher 86 Figure 10: Musicians scoring the screening live 86 Figure 11: Announcement before the screening 86 Figure 12: The entertainment process of International Mime Academy 105 Figure 13: The entertainment process of Colour Bleed 107 Chapter 4: Entarch Business Models Figure 14: Cover of Level 26: Dark Origins 143 Figure 15: iPad version of Dark Prophecy 144 Figure 16: A visualisation of Perplex City 146 Figure 17: Purchasable poster map of Perplex City 146 Figure 18: Every purchased map is numbered 147 Figure 19: Cover of Cathy’s Book 148 Figure 20: Cover of Cathy’s Key 148 Figure 21: Cover of Cathy’s Ring 149 Figure 22: Cover of Personal Effects: Dark Art 149 Figure 23: Screenshot of Burnout Paradise 160 Figure 24: Hope poster 161 Figure 25: Screenshot of the first Old Spice Guy advertisement 167 Figure 26: Story Addict banner 176 Chapter 5: Entarch Industry Figure 27: Every time you torrent god kills a cinema 193 Figure 28: Economic cutoff points 195 Chapter 7: Conclusions Figure 29: Entertainment Architecture in relation to other concepts 234 — VI — Adalbert (Woitek) Konzal Entertainment Architecture List of Abbreviations ARG Alternate Reality Game EA Entertainment Architect Entarch Entertainment Architecture IP Intellectual Property — VII — Adalbert (Woitek) Konzal Entertainment Architecture 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. Signature ______________ Date ______________ — VIII — Adalbert (Woitek) Konzal Entertainment Architecture Acknowledgements Like Google, Newton, and Bernard of Chartres, I’m a dwarf standing on the shoulders of giants. Each one generously carried me for as long as I need it and let me hop onto the next one when the time was right. Had just one single gi- ant refused to support me, none of what happened would have happened the way it did. And I very much like the result. Nonetheless, a few of you were exceptional. John Hartley appeared at the right time, took me along to the other side of the world, let me roam freely so I could attack even bigger issues than I originally had my eyes on, and still man- aged to keep the chaos under control (maybe because you unlike me always knew what I was doing). My parents bore me longer than anyone else and are still not bored with me. Jason Potts stepped in to introduce order when it was needed. My ten interview partners from all around the world granted me more time and openness than I thought possible. David Court, the Australian Film Television and Radio School, and their Centre for Screen Business helped guide my scholarly steps into movies and the movie industry. Jon Silver is the most comprehensive movie encyclopaedia ever
Load more

Recommended publications
  • Transmedia Storytelling Hyperdiegesis, Narrative Braiding
    Transmedia Storytelling Hyperdiegesis, Narrative Braiding and Memory in Star Wars Comics William Proctor Since at least the turn of the twentieth century, the comic book medium has grown in dialogue alongside other media forms, both old and new, underscored by what is commonly described as adaptation. In basic terms, adaptation refers to a process whereby stories are lifted from one medium and replanted in another. Of course, the process is more complicated than that as different media each bring different creative requirements and, as a result, adaptation is never simply about reproducing a story in exactly the same way—although it is about reproduction, to some degree. Put simply, adaptation refers to the retelling of a story in a new media location. For example, each installment of Warner Bros.’ Harry Potter film series—from Harry Potter and the Sorcerer’s Stone to Harry Potter and the Deathly Hallows—are adaptations of novels written by J.K Rowling, each ‘retelling’ the same story in the process from book-to-film. The caveat here is that such a retelling also involves revising narrative elements, and even editing or reframing scenes from the ‘source’ text to better-fit the ‘target’ medium. Variations as well as repetition are key factors to consider, as adaptation theorist Linda Hutcheon notes (2006). The contemporary landscape is brimming with adaptations of all sorts, but perhaps the most common example in the twenty-first century are the bevvy of film and TV series based on comic books, many of them produced by the ‘big two’ superhero publishers, Marvel and DC, as film scholar Terence McSweeney argues: “We are living in the age of the superhero and we cannot deny it” (2018, 1).
    [Show full text]
  • Theorising the Practice of Expressing a Fictional World Across Distinct Media and Environments
    Transmedia Practice: Theorising the Practice of Expressing a Fictional World across Distinct Media and Environments by Christy Dena A thesis submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy (PhD) School of Letters, Art and Media Department of Media and Communications Digital Cultures Program University of Sydney Australia Supervisor: Professor Gerard Goggin Associate Supervisor: Dr. Chris Chesher Associate Supervisor: Dr. Anne Dunn 2009 Let’s study, with objectivity and curiosity, the mutation phenomenon of forms and values in the current world. Let’s be conscious of the fact that although tomorrow’s world does not have any chance to become more fair than any other, it owns a chance that is linked to the destiny of the current art [...] that of embodying, in their works some forms of new beauty, which will be able to arise only from the meet of all the techniques. (Francastel 1956, 274) Translation by Regina Célia Pinto, emailed to the empyre mailing list, Jan 2, 2004. Reprinted with permission. To the memory of my dear, dear, mum, Hilary. Thank you, for never denying yourself the right to Be. ~ Transmedia Practice ~ Abstract In the past few years there have been a number of theories emerge in media, film, television, narrative and game studies that detail the rise of what has been variously described as transmedia, cross-media and distributed phenomena. Fundamentally, the phenomenon involves the employment of multiple media platforms for expressing a fictional world. To date, theorists have focused on this phenomenon in mass entertainment, independent arts or gaming; and so, consequently the global, transartistic and transhistorical nature of the phenomenon has remained somewhat unrecognised.
    [Show full text]
  • Aachi Wa Ssipak Afro Samurai Afro Samurai Resurrection Air Air Gear
    1001 Nights Burn Up! Excess Dragon Ball Z Movies 3 Busou Renkin Druaga no Tou: the Aegis of Uruk Byousoku 5 Centimeter Druaga no Tou: the Sword of Uruk AA! Megami-sama (2005) Durarara!! Aachi wa Ssipak Dwaejiui Wang Afro Samurai C Afro Samurai Resurrection Canaan Air Card Captor Sakura Edens Bowy Air Gear Casshern Sins El Cazador de la Bruja Akira Chaos;Head Elfen Lied Angel Beats! Chihayafuru Erementar Gerad Animatrix, The Chii's Sweet Home Evangelion Ano Natsu de Matteru Chii's Sweet Home: Atarashii Evangelion Shin Gekijouban: Ha Ao no Exorcist O'uchi Evangelion Shin Gekijouban: Jo Appleseed +(2004) Chobits Appleseed Saga Ex Machina Choujuushin Gravion Argento Soma Choujuushin Gravion Zwei Fate/Stay Night Aria the Animation Chrno Crusade Fate/Stay Night: Unlimited Blade Asobi ni Iku yo! +Ova Chuunibyou demo Koi ga Shitai! Works Ayakashi: Samurai Horror Tales Clannad Figure 17: Tsubasa & Hikaru Azumanga Daioh Clannad After Story Final Fantasy Claymore Final Fantasy Unlimited Code Geass Hangyaku no Lelouch Final Fantasy VII: Advent Children B Gata H Kei Code Geass Hangyaku no Lelouch Final Fantasy: The Spirits Within Baccano! R2 Freedom Baka to Test to Shoukanjuu Colorful Fruits Basket Bakemonogatari Cossette no Shouzou Full Metal Panic! Bakuman. Cowboy Bebop Full Metal Panic? Fumoffu + TSR Bakumatsu Kikansetsu Coyote Ragtime Show Furi Kuri Irohanihoheto Cyber City Oedo 808 Fushigi Yuugi Bakuretsu Tenshi +Ova Bamboo Blade Bartender D.Gray-man Gad Guard Basilisk: Kouga Ninpou Chou D.N. Angel Gakuen Mokushiroku: High School Beck Dance in
    [Show full text]
  • A Sense of Presence: Mediating an American Apocalypse
    religions Article A Sense of Presence: Mediating an American Apocalypse Rachel Wagner Department of Philosophy and Religion, Ithaca College, Ithaca, NY 14850, USA; [email protected] Abstract: Here I build upon Robert Orsi’s work by arguing that we can see presence—and the longing for it—at work beyond the obvious spaces of religious practice. Presence, I propose, is alive and well in mediated apocalypticism, in the intense imagination of the future that preoccupies those who consume its narratives in film, games, and role plays. Presence is a way of bringing worlds beyond into tangible form, of touching them and letting them touch you. It is, in this sense, that Michael Hoelzl and Graham Ward observe the “re-emergence” of religion with a “new visibility” that is much more than “simple re-emergence of something that has been in decline in the past but is now manifesting itself once more.” I propose that the “new awareness of religion” they posit includes the mediated worlds that enchant and empower us via deeply immersive fandoms. Whereas religious institutions today may be suspicious of presence, it lives on in the thick of media fandoms and their material manifestations, especially those forms that make ultimate promises about the world to come. Keywords: apocalypticism; Orsi; enchantment; fandom; video games; pervasive games; cowboy; larp; West 1. Introduction Michael Hoelzl and Graham Ward observe the “re-emergence” of religion today with a “new visibility” that is “far more complex and nuanced than simple re-emergence of something that has been in decline in the past but is now manifesting itself once more” (Hoelzl and Ward 2008, p.
    [Show full text]
  • Instructions
    MY DETAILS My Name: Jong B. Mobile No.: 0917-5877-393 Movie Library Count: 8,600 Titles / Movies Total Capacity : 36 TB Updated as of: December 30, 2014 Email Add.: jongb61yahoo.com Website: www.jongb11.weebly.com Sulit Acct.: www.jongb11.olx.ph Location Add.: Bago Bantay, QC. (Near SM North, LRT Roosevelt/Munoz Station & Congressional Drive Capacity & Loadable/Free Space Table Drive Capacity Loadable Space Est. No. of Movies/Titles 320 Gig 298 Gig 35+ Movies 500 Gig 462 Gig 70+ Movies 1 TB 931 Gig 120+ Movies 1.5 TB 1,396 Gig 210+ Movies 2 TB 1,860 Gig 300+ Movies 3 TB 2,740 Gig 410+ Movies 4 TB 3,640 Gig 510+ Movies Note: 1. 1st Come 1st Serve Policy 2. Number of Movies/Titles may vary depends on your selections 3. SD = Standard definition Instructions: 1. Please observe the Drive Capacity & Loadable/Free Space Table above 2. Mark your preferred titles with letter "X" only on the first column 3. Please do not make any modification on the list. 3. If you're done with your selections please email to [email protected] together with the confirmaton of your order. 4. Pls. refer to my location map under Contact Us of my website YOUR MOVIE SELECTIONS SUMMARY Categories No. of titles/items Total File Size Selected (In Gig.) Movies (2013 & Older) 0 0 2014 0 0 3D 0 0 Animations 0 0 Cartoon 0 0 TV Series 0 0 Korean Drama 0 0 Documentaries 0 0 Concerts 0 0 Entertainment 0 0 Music Video 0 0 HD Music 0 0 Sports 0 0 Adult 0 0 Tagalog 0 0 Must not be over than OVERALL TOTAL 0 0 the Loadable Space Other details: 1.
    [Show full text]
  • MAD SCIENCE! Ab Science Inc
    MAD SCIENCE! aB Science Inc. PROGRAM GUIDEBOOK “Leaders in Industry” WARNING! MAY CONTAIN: Vv Highly Evil Violations of Volatile Sentient :D Space-Time Materials Robots Laws FOOT table of contents 3 Letters from the Co-Chairs 4 Guests of Honor 10 Events 15 Video Programming 18 Panels & Workshops 28 Artists’ Alley 32 Dealers Room 34 Room Directory 35 Maps 41 Where to Eat 48 Tipping Guide 49 Getting Around 50 Rules 55 Volunteering 58 Staff 61 Sponsors 62 Fun & Games 64 Autographs APRIL 2-4, 2O1O 1 IN MEMORY OF TODD MACDONALD “We will miss and love you always, Todd. Thank you so much for being a friend, a staffer, and for the support you’ve always offered, selflessly and without hesitation.” —Andrea Finnin LETTERS FROM THE CO-CHAIRS Anime Boston has given me unique growth Hello everyone, welcome to Anime Boston! opportunities, and I have become closer to people I already knew outside of the convention. I hope you all had a good year, though I know most of us had a pretty bad year, what with the economy, increasing healthcare This strengthening of bonds brought me back each year, but 2010 costs and natural disasters (donate to Haiti!). At Anime Boston, is different. In the summer of 2009, Anime Boston lost a dear I hope we can provide you with at least a little enjoyment. friend and veteran staffer when Todd MacDonald passed away. We’ve been working long and hard to get composer Nobuo When Todd joined staff in 2002, it was only because I begged. Uematsu, most famous for scoring most of the music for the Few on staff imagined that our three-day convention was going Final Fantasy games as well as other Square Enix games such to be such an amazing success.
    [Show full text]
  • Play Chapter: Video Games and Transmedia Storytelling 1
    LONG / PLAY CHAPTER: VIDEO GAMES AND TRANSMEDIA STORYTELLING 1 PLAY CHAPTER: VIDEO GAMES AND TRANSMEDIA STORYTELLING Geoffrey Long April 25, 2009 Media in Transition 6 Cambridge, MA Revision 1.1 ABSTRACT Although multi‐media franchises have long been common in the entertainment industry, the past two years have seen a renaissance of transmedia storytelling as authors such as Joss Whedon and J.J. Abrams have learned the advantages of linking storylines across television, feature films, video games and comic books. Recent video game chapters of transmedia franchises have included Star Wars: The Force Unleashed, Lost: Via Domus and, of course, Enter the Matrix ‐ but compared to comic books and webisodes, video games still remain a largely underutilized component in this emerging art form. This paper will use case studies from the transmedia franchises of Star Wars, Lost, The Matrix, Hellboy, Buffy the Vampire Slayer and others to examine some of the reasons why this might be the case (including cost, market size, time to market, and the impacts of interactivity and duration) and provide some suggestions as to how game makers and storytellers alike might use new trends and technologies to close this gap. INTRODUCTION First of all, thank you for coming. My name is Geoffrey Long, and I am the Communications Director and a Researcher for the Singapore‐MIT GAMBIT Game Lab, where I've been continuing the research into transmedia storytelling that I began as a Master's student here under Henry Jenkins. If you're interested, the resulting Master's thesis, Transmedia Storytelling: Business Aesthetics and Production at the Jim Henson Company is available for downloading from http://www.geoffreylong.com/thesis.
    [Show full text]
  • Descargar En
    PROYECTO DE GRADUACION Trabajo Final de Grado La animación sakuga en el anime japonés. Sus mayores exponentes y su evolución. Romina Maidana Cuerpo B del PG 09/09/13 Diseño de imagen y sonido Ensayo Nuevas tecnologías Agradecimientos: A los profesores Nicolás Sorrivas, Raquel Iznaola, Fernando Rolando, Andy Kesting, Adrián Guillot, Pablo Brand, Diego Hernandez Florescon, Beatriz Rizzo que me acompañaron a lo largo de estos años que cursé y lograron despertar en mí ésta curiosidad por las diferentes disciplinas que tiene la carrera. A mis padres que me apoyaron en todos estos años que estuve estudiando y son mis fans número uno. A Daniela Gauna que estuvo ayudándome desde el momento que arranque con este proyecto y me ayudo a corregir cada letra, punto y coma. A Matías por darme la idea de este proyecto y tenerme paciencia con este trabajo. A mis primos y amigos que siempre están para apoyarme y darme ánimos. 2 Índice Introducción……………………………………………………………………………....p.1 Capítulo 1: Un acercamiento a la animación.…………………………………………...p.8 1.1- Origen de la animación……………………………………………………..…....p.8 1.2- Procesos de animación……………………………………………………....…..p.11 1.3- Evolución de la animación sakuga……………...…………………………….…p.13 1.4- Las tres grandes productoras de anime…...…………………………….….…..p.17 Capítulo 2: Historia de la animación japonesa………………………..………………..p.20 2.1- Como comenzó todo……………………………………………………..………..p.20 2.2- La primera animación japonesa…………………………………………………p.22 2.3- Osamu Tezuka, el Dios del manga…………………………………….……….p.24 Capítulo 3: Animación……………………………………………………………………...p.28
    [Show full text]
  • Transmedia Storytelling and User-Generated Content
    GUERRERO-PICO, M. y SCOLARI, C.A. Transmedia storytelling and user-generated content CUADERNOS.INFO Nº 38 ISSN 0719-3661 Versión electrónica: ISSN 0719-367x http://www.cuadernos.info doi: 10.7764/cdi.38.760 Received: 04-15-2015 / Accepted: 03-23-2016 Transmedia storytelling and user-generated content: A case study on crossovers Narrativas transmedia y contenidos generados por los usuarios: el caso de los crossovers Narrativas transmídia e conteúdos gerados por usuários: o caso dos crossovers MAR GUERRERO-PICO, Departamento de Comunicación, Universitat Pompeu Fabra, Barcelona, España [[email protected]] CARLOS A. SCOLARI, Departamento de Comunicación, Universitat Pompeu Fabra, Barcelona, España [[email protected]] ABSTRACT RESUMEN RESUMO The aim of this article is to analyze a El objetivo de este artículo es analizar un O objetivo deste artigo é analisar um tipo special type of textuality: crossovers. tipo especial de textualidad: los crossovers. especial de textualidade: os crossovers. A The analy¬sis focuses on user-generated El análisis se focalizará en los contenidos análise se centra nos conteúdos gerados content in the transmedia storytelling generados por los usuarios de las narrati- pelos usuários de narrativas transmídia. context. The study follows a series of vas transmedia. Para ello, se toman como Para isso, 25 produções derivadas das 25 productions derivative of ABC’s Lost caso 25 producciones derivadas de dos se- séries de televisão Lost (ABC, 2004- (2004- 2010) and FOX’s Fringe (2008- ries televisivas: Lost (ABC, 2004-2010) y 2010) e Fringe (FOX, 2008-2013) são 2013). After describing the scenario where Fringe (FOX, 2008-2013).
    [Show full text]
  • Cinematic Transmedia: a Physiological Look at Engagement with Marvel’S Cinematic Universe
    Running head: CINEMATIC TRANSMEDIA 1 Cinematic Transmedia: A Physiological Look at Engagement with Marvel’s Cinematic Universe as Measured by Brainwaves and Electrodermal Activity Tabitha Cassidy Liberty University CINEMATIC TRANSMEDIA 2 Dedication: This thesis is dedicated to my dog, Shakespeare, who sacrificed many trips to the park, and had to deal with my odd hours at night. Acknowledgements: Thank you to my committee members, Drs. Carey Martin and Stuart Schwartz, for helping me through this process. Special thanks to Dr. Fred Volk for providing me with the necessary equipment to complete my study. Particular thanks again to Dr. Martin for introducing me to the concept of transmedia and working with me through my meanderings. CINEMATIC TRANSMEDIA 3 Abstract This study looks at engagement levels within the Marvel Cinematic Universe (MCU) at physiological and neurological levels, and with self-reported measures. One show or movie in each of three categories of Marvel media (a movie, television show, and streaming show) were shown to participants who then had their brainwaves and galvanic skin response recorded to determine whether or not they were engaged with the transmedia aspects of the MCU. Results showed that participants were consistently engaged with the transmedia throughout all three media types, with brainwaves varying only slightly between each content. The Marvel movie, “The Avengers” was most engaging to participants who had their brainwaves and galvanic skin response rates recorded, while participants in a control group consisting of only a survey agreed with the finding that movies in the MCU were the most enjoyable and were able to keep their interest the longest.
    [Show full text]
  • Reconsidering Transmedia(L) Worlds 2015
    Repositorium für die Medienwissenschaft Nicole Gabriel; Bogna Kazur; Kai Matuszkiewicz Reconsidering Transmedia(l) Worlds 2015 https://doi.org/10.25969/mediarep/12019 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Gabriel, Nicole; Kazur, Bogna; Matuszkiewicz, Kai: Reconsidering Transmedia(l) Worlds. In: Claudia Georgi, Brigitte Johanna Glaser (Hg.): Convergence Culture Reconsidered. Media – Participation – Environments. Göttingen: Universitätsverlag Göttingen 2015, S. 163–194. DOI: https://doi.org/10.25969/mediarep/12019. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell 4.0 Lizenz zur Verfügung Attribution - Non Commercial 4.0 License. For more information gestellt. Nähere Auskünfte zu dieser Lizenz finden Sie hier: see: https://creativecommons.org/licenses/by-nc/4.0 https://creativecommons.org/licenses/by-nc/4.0 Reconsidering Transmedia(l) Worlds Nicole Gabriel, Bogna Kazur, and Kai Matuszkiewicz 1. Introduction “Any thoughtful study of contemporary transmedia must start with the vital caveat that transmedia is not a new phenomenon, born of the digital age.” (Jason Mittell 2014, 253; emphasis in the original) To begin with, we would like to agree with the general sentiment of Mittell’s statement: ‘transmedia,’ which Mittell seems to use as an abbreviation of the term ‘transmediality,’ is not a new phenomenon. But can it really be a mere coincidence that these two terms and other related concepts such as ‘transmedial worlds’ have been introduced and extensively discussed in academic discourses since the early 2000s, less than ten years after the introduction of home computers and the inter- net to numerous private households, and at about the same time as the Web 2.0 came into existence? We do not think so.
    [Show full text]
  • Entertainment Architecture
    Entertainment Architecture Constructing a Framework for the Creation of an Emerging Transmedia Form by Adalbert (Woitek) Konzal Dipl.-Kfm. European Business School, Oestrich-Winkel, Germany A dissertation presented in fulfilment of the requirements for the degree of Doctor of Philosophy ARC Centre of Excellence for Creative Industries and Innovation Creative Industries Faculty Queensland University of Technology Brisbane, Australia 2011 Adalbert (Woitek) Konzal Entertainment Architecture Keywords film movie transmedia entertainment transmedia storytelling pervasive games ubiquitous games agency form evolution entrepreneurship business industry creative destruction marketing promotion — II — Adalbert (Woitek) Konzal Entertainment Architecture Abstract This thesis investigates the radically uncertain formal, business, and industrial environment of current entertainment creators. It researches how a novel communication technology, the Internet, leads to novel entertainment forms, how these lead to novel kinds of businesses that lead to novel industries; and in what way established entertainment forms, businesses, and industries are part of that process. This last aspect is addressed by focusing on one exemplary es- tablished form: movies. Using a transdisciplinary approach and a combination of historical analysis, industry interviews, and an innovative mode of ‘immersive’ textual analysis, a coherent and comprehensive conceptual framework for the creation of and re- search into a specific emerging entertainment form is proposed. That form,
    [Show full text]