Interactive Narratives and Transmedia Storytelling provides media students and industry professionals with strategies for creating innovative new media projects across a variety of platforms. Synthesizing ideas from a range of theorists and practitioners across visual, audio, and interactive media, Kelly McErlean offers a practical reference guide and toolkit to best practices, techniques, key historical and theoretical concepts, and terminology that media storytellers and creatives need to create compelling interactive and transmedia narratives. McErlean takes a broad lens, exploring traditional narrative, virtual reality and augmented reality, audience interpretation, sound design, montage, the business of transmedia storytelling, and much more.
Written for both experienced media practitioners and those looking for a reference to help bolster their creative toolkit or learn how to better craft multiplatform stories, Interactive Narratives and Transmedia Storytelling serves as a guide to navigating this evolving world.
Rezensionen / Stimmen
"In an age of ubiquitous social media, interaction is the new normal. Pitched precisely on the leading edge of media theory/practice and industry/academy interests, Interactive Narratives and Transmedia Storytelling is a best-of-both-worlds, how-to guide for practitioners (AKA creatives) across the relevant multidisciplinary and cross-platform fields of research, pedagogy and commercial production. Grounded in a confident, non-jargonistic understanding of narrative (and narration and narratology), this book deep-mines scholarly explanation of the customarily closed-circuit of 'classical' (linear-consequential) and non-linear (avant-garde) storytelling in TV, cinema, photography and fine art, in order to apply key conceptual insights, tools and techniques to the aesthetic practice of making of innovative digital forms, open to two-way and multilinear fictive plotting. Staying current with fast-changing genres and supporting technologies will of course always be tricky. To that end it is surely wise, as in this instance, to situate the work conceptually and in relation to a range of writers and approaches. In debt to the modernist praxis of pioneers such as Brecht as well as the example of Hollywood auteurs, notably Hitchcock, the reader will appreciate McErlean's skilled use of recurring focus on key objects of analysis, illuminated through a critical compass of perspectives and practices."
-Dr. David E. Butler, Independent Academic Consultant (University of Cumbria Institute of the Arts)
"A storytelling future has arrived and here is its Book of Revelation. McErlean shows us how, five centuries on from Caxton, we can engage with new technologies to transform the familiar immersive experience in ways previously only imagined, and be inspired to connect anew both inside and outside of ourselves."
-Dr. Daniel Meadows, Photographer/Viusal Storyteller; Former Lecturer at Cardiff School of Journalism, Media and Cultural Studies
"The digital world is full of paradox; reading is crucial to master its development. If you want to be serious about interactive narratives and transmedia storytelling, this book is for you. The author is adamant about it: 'Reading is not always easy as many worthwhile texts require significant effort to get through . . . I have always promoted the importance of critically analysing narrative texts.'"
-Nathalie Labourdette, Head of EBU Academy - EBU Geneva "In an age of ubiquitous social media, interaction is the new normal. Pitched precisely on the leading edge of media theory/practice and industry/academy interests, Interactive Narratives and Transmedia Storytelling is a best-of-both-worlds, how-to guide for practitioners (AKA creatives) across the relevant multidisciplinary and cross-platform fields of research, pedagogy and commercial production. Grounded in a confident, non-jargonistic understanding of narrative (and narration and narratology), this book deep-mines scholarly explanation of the customarily closed-circuit of 'classical' (linear-consequential) and non-linear (avant-garde) storytelling in TV, cinema, photography and fine art, in order to apply key conceptual insights, tools and techniques to the aesthetic practice of making of innovative digital forms, open to two-way and multilinear fictive plotting. Staying current with fast-changing genres and supporting technologies will of course always be tricky. To that end it is surely wise, as in this instance, to situate the work conceptually and in relation to a range of writers and approaches. In debt to the modernist praxis of pioneers such as Brecht as well as the example of Hollywood auteurs, notably Hitchcock, the reader will appreciate McErlean's skilled use of recurring focus on key objects of analysis, illuminated through a critical compass of perspectives and practices."
-Dr. David E. Butler, Independent Academic Consultant
"A storytelling future has arrived and here is its Book of Revelation. McErlean shows us how, five centuries on from Caxton, we can engage with new technologies to transform the familiar immersive experience in ways previously only imagined, and be inspired to connect anew both inside and outside of ourselves."
-Dr. Daniel Meadows, Photographer, Writer, Documentarist; Pioneer of Participatory Media
Sprache
Verlagsort
Verlagsgruppe
Zielgruppe
Für höhere Schule und Studium
Für Beruf und Forschung
Maße
Höhe: 229 mm
Breite: 152 mm
Dicke: 12 mm
Gewicht
ISBN-13
978-1-138-63882-2 (9781138638822)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Kelly McErlean has developed graduate and postgraduate programs in film and new media for local and international delivery and successfully delivered eLearning and onsite contracts for international broadcast organisations on behalf of the European Broadcasting Union. Kelly lectures on new media, film and entrepreneurship at the Department of Creative Arts, Media and Music, Dundalk Institute of Technology, Ireland. He has won several awards including a Golden Spider Award and a Digital Media Award for his film, new media, and photographic works. Kelly holds a PhD in visual culture from the National College of Art and Design, Dublin.
Introduction
Who is this Book For?
Defining Interactive Narratives and Transmedia Stories
The Author
New Modes of Storytelling
A Summary of the Chapters
Commercial Imperative
The Command to Read
Lateral Thinking
Pitching your Idea
Developing an Ideas Book / Visual Diary
Traditional Narrative Texts
Talking Pictures - Finding Narrative in Photography
Geometry in Photo Composition
Story Sequences in Stills
Pedro Meyer's The Illusion of Real Space
Navigating Linear Texts
Verisimilitude
Brechtian Realism
Aristotle's Poetics
Hogarth's A Rake's Progress
Baudelaire's l'Art mnemonique
Film Editing - Walter Murch
The Rule of Six
The 3rd Effect
Eisenstein's Diagrammatic Score
Precipitant Sounds
Embodied Sounds
Narrative Progression
Interpreting the Author's Intent
Narrative Reality versus Audience Reality
Text on Screen
Constructing a Storyline
Narrative Distance, Depth and Alignment
Bazin's Invisible Witness
Story Rhythm - the Haiku
Silent Era Techniques
Bonitzer on Hitchcock
The Macguffin
Zizek on Hitchcock
Subjective Interpretation
Narrative Perspectives
Entgrenzung: The Dissolution of Perspectival Boundaries
Linguistic Flexibility: Blending Words into Chords
Narrative Deconstruction
The Loop: IF, THEN, GOTO
Cause and Effect
Relinquishing Authorial Control
Attentional Blink
Confabulation: Emotional Experiences Without Context
Evolving Language
Calvino: the Malleable Relationship between Reader and Narrator
Subjective Responses to Colour and Form
Active and Passive Colours
Emotional Responses to Colour
Digital and Analogue Colour Palette
Instinctual Responses to Geometric Forms
The Will-to-Art
Knowing Your Audience
Controlling the Narrative / Owning the Text
Kandinsky's Chain of Related Sensations
Sound Design
Primal Responses to Sound
Classifying Harmonics in Terms of Emotional Response
Narrative Soundscapes
Affective Audio
Cueing-In Emotions
Separating Dialogue from Background Noise
Prosody and Syntax
Musical Motifs
Representations of Emotions
Universal 'Palette' of Sound
Memories of Feelings - the Limits of the Codification of Musical Forms
Anticipation and Resolution
Rhythmic Organisation and 'Percussive Barriers'
Psychological and Ontological Time
Musical Notation
Accidental Counterpoint
Communicating Emotion through Music
Syncopation
The Soundtrack
Cinematic Allusionism
Sound Elements of Film
Imitative-Denotative Instrumentation
Limitations of Visual and Dialogue
Leitmotif
Empathetic / Anempathetic Soundtracks
Visual Montage
Montage: Juxtaposing Visual Elements
Affidavit-Exposition
Vertical Montage
Photo Montage: Hockney's Joiners
Burroughs's Literary Cut-Ups
The Lettrists
Brueghel's Micronarratives
Marker's La Jetee
Spatial Representation of Temporal Sequences
Multiple Narrative Perspectives On-Screen
Vertov's Kino-Eye
Codifying Story Elements
Propp's Morphology of the Folktale
Narratology: How Narrative Structures Affect Our Perception
Narratology Terminology: Synecdoche, Contiguous, Metonym
Embedded Narratives: Fabula and Syuzhet
A Perspectival Approach to Narrative
Subjective Retroversion
The Photograph: A Message Without a Code
War Primer: Brecht's Photo-Epigrams
Talking Pictures: Photographic Stills and Audio Vignettes
Perec's 'Infra-Ordinary'
De Quincey's Record of Regency London
The Photograph: Flat Anthropological Fact
Brecht's Theory of Distanciation
Primacy of Lexis Over Plot
Visualisation of Large Data Sets
Metadata - Tagging Archived Content
The Photo Archive
Photogrammetry: Cyber-Archaeology
Trend-Identifying Algorithms
Netflix Quantum Theory
Authoring Multiple Narrative Trajectories
The Database
Hypernarrative
Extractive Hypertext and Immersive 3D
Associative Linkage
Genre Classification
The Cinematic Metaphor
Non-Traditional Film: Gordon's 'Temporal Deceleration'
Emergent Narratives
Triangulating Content
Interactive Narratives
Textual Interaction
Char Davies - Osmose
Proprioception
Artist and Audience: Atherton's Interactive Discourse
Non-Linear Texts
Syncretic and Synaesthetic Language
The Disrupting Effect of Latency Within Simulated Stories
Interactive StoryTelling
Immersion in the Textual World
Visual Writing
Temporal Immersion
Backstory
Ergodic Texts
Constant Recontextualisation
Depth-First Exploration
Structures of Interactivity
Spatial and Emotional Immersion
The Greek Chorus
Audience Participation: Living Theatre
The Perspectivist Approach
The Freytag Triangle
Narrative Constraints
Joyce's Epiphany
The Language of Television
Impositional and Expressive Narratives
The Objective Correlative
Virtual Identities
Flat and Round Characters
VR Storytelling Techniques
Performative Gestures
Gesture Controlled Interfaces
Technology and Art
Hoey's The Weight of Water: Manufacturing Presence in VR
Mixed Storytelling: Fran Bow
Interactive Poetry: Dear Esther
Location-Based AR
The Narrative Architect
Experimental Narrative Riffs: Grammatron
Remediating Stories
Interactive Design: Twine
The Business of Transmedia Storytelling
#FindTheGirl
Blast Theory - Ivy4EVR
Karen
Content Creation Departments - Going Viral
The Digital Newsroom - Transmedia and VR
Storytelling on Social Media Platforms
Data Analytics
Story Development Tools and Technologies
Augmented Reality
Recreating the Theatre Experience
Conclusion
Appendix 1 - Making The Little Extras
Towards a New Film Paradigm
Storytelling using Spatial Montage
The Spectator's Gaze
The Primacy of the Author
Abdicating Authorship
Deconstructive Cinema
The Function of Embedded Narratives
Learning New Modes of Interaction
Narrative Immersion
Foveal and Peripheral Vision
Altering Perspective
The Little Extras Sound Design
Interpreting and Re-Interpreting the Textual World
Storyboards and Animatics
Appendix 2 - Digital Data Compression
Spatial and Temporal Compression - Exploiting Redundancy
Quantisation: Threshold Levels and Banding
Coding Compression
Frame Prediction: Keyframes and Checksum Values
Bibliography
Index
