Woi Woi » Experience

Pine, BJ ~ The Experience Economy

Woitek Konzal — Sat, 05 Feb 2011 09:53:02 +0000

Pine, B. Joseph
Gilmore, James H.
1999
The Experience Economy: Work is Theatre & Every Business a Stage

Business Consultant BS! Can’t read.

After industry and services we’re not moving towards information but experience => hence Experience Economy

Vogel, H ~ Entertainment Industry Economics

Woitek Konzal — Thu, 13 Jan 2011 09:27:17 +0000

Vogel, Harold L.
2007
Entertainment Industry Economics: A Guide for Financial Analysis
Seventh Edition

xix
Definition-entertainment:
“the act of diverting, amusing, or causing someone’s time to pass agreeably; something that diverts, amuses, or occupies the attention agreeably.” From Webster’s Third New Unabridged International Dictionary, 1967.

Definition-entertainment:
“Entertainment – the cause – is thus obversely defined through its effect: a satisfied and happy psychological state. Yet, somehow, it matters not whether the effect is achieved through active or passive means. Playing the piano can be just as pleasurable as playing the stereo.”

Definition-entertainment:
“Entertainment indeed means so many different things to so many people that a manageable analysis requires sharper boundaries to be drawn. Such boundaries are here established by classifying entertainment activities into industry segments, that is, enterprises or organizations of significant size that have similar technological structures of production and that produce or supply goods, services, or sources of income that are substitutable.”
He defines entertainment from an industrial perspective.

4
Definition-entertainment:
“The concept of entertainment is thus subordinate to that of recreation: It is more specifically defined through its direct and primarily psychological and emotional effects.”

13
“As this post-war generation matures past its years of family formation and into years of peak earnings power and then retirement, spending may be naturally expected to collectively shift to areas such as casinos, cultural events, and tourism and travel, and away from areas that are usually of the greatest interest to people in their teens or early twenties.”

494
“[There] are several frequently observed industry characteristics.”

“Many are called, but few are chosen: Perhaps the most noticeable tendency of entertainment businesses is that in the steady-state growth phase (i.e., after a segment has attained a size at which long-run domination by several large companies has been established), profits from a very few highly popular products are generally required to offset losses from many mediocrities.”

“Marketing expenditures per unit are proportionally large: [...]“

“Ancillary markets provide disproportionately large returns: [...]“

494f
“Capital costs are relatively high; oligopolist tendencies are prevalent: As happens in many other industries, once beyond the very early stages of a segment’s development, the cost of capital and the amount of it required for operations becomes a formidable barrier to entry by new competitors. Most entertainment industry segments thus come to be ruled by large companies with relatively easy access to large pools of capital. Such oligopolistic tendencies can, for example, be seen in distribution of recorded music and movies, and in the gaming, theme park, cable, video game, and broadcasting industries.”

495
“Public-good characteristics are often present: With pure public goods, the cost of production is independent of the number of consumers; that is, consumption by one person does not reduce the amount available for consumption by another. Although delivered to consumers in the form of private goods, many entertainment products and services, including movies, records, television programs, and sports contests, have public-good characteristics.”

“Many products and services are not standardized (which is good for entrepreneurs and bad for relative-productivity gains): There are four important consequences of such nonstandardization:

Despite the oligopolistic framework, there is considerable freedom for the entrepreneurial spirit to thrive. That is, operas, plays, movies, ballets, songs, and video games are uniquely produced and are normally originated by individuals working alone or in small groups and not by giant corporate committees. One can become rich and famous as a direct result of one’s own creative efforts.
The entrepreneurial spirit and thus the importance of the individual to the productive process is accommodated by means of widely varying, and uniquely tailored, financing arrangements. This is especially evident in movies, recorded music, and sports. Option contracts are central.
Where the production is the product itself (e.g., live performance of music or dance), it is difficult to enhance productivity. To some extent, this aspect also appears in areas as diverse as filmmaking, sports, and casino gaming.
Under the aforementioned conditions, the costs of creating and marketing entertainment products such as movies and television programs tend to rise at above-average rates.

”

“Technological advances provide the saving grace: Fortunately, ongoing technological development makes it ever easier and less expensive to manufacture, distribute, and receive entertainment products and services.”

“New entertainment media tend not to render older ones extinct: New ways to deliver entertainment products and services are constantly evolving. Although introduction of new entertainment media may diminish the importance of existing forms, the older forms are rarely rendered extinct.”
-> Thesis

496
“Entertainment products and services have universal appeal: Demand for entertainment cuts across all cultural and national boundaries”

501
“Yet the industries are already quite mature in the United States, and expansion will increasingly be linked to the rate of growth of middle-class populations outside North America.”

Casetti, Francesco ~ Filmic Experience

Woitek Konzal — Sun, 09 Jan 2011 15:00:15 +0000

Casetti, Francesco
2009
Filmic Experience

Talks about the filmic experience. In a sense, the approach is similar to mine from confirmation where I re-appropriated the term cinema experience.

65
“It is clear that cinema, in widening its definition, risks losing its specificity.”

66
“This is why I would argue that filmic experience will survive: in order to allow the spectator of media to be involved in a truly exploratory way, in order to force eyes and ears to be opened as they are nowhere else.”

Gray, J ~ Show Sold Separately

Woitek Konzal — Sat, 25 Sep 2010 03:05:05 +0000

Gray, Jonathan
2010
Show Sold Separately: Promos, Spoilers, and Other Media Paratexts

2
“Film and television shows, in other words, are only a small part of the massive, extended presence of filmic and televisual texts across our lived environments.”

3
“Decisions on what to watch, what not to watch, and how to watch are often made while consuming hype, synergy, and promos, so that by the time we actually encounter “the show itself,” we have already begun to decode it and to preview its meanings and effects.”
“Today’s version of “Don’t judge a book by its cover” is “Don’t believe the hype,” but hype and surrounding texts do more than just ask us to believe them or not; rather, they establish frames and filters through which we look at, listen to, and interpret the texts that they hype. As media scholars have long noted, much of the media’s powers come not necessarily from being able to tell us what to think, but what to think about, and how to think about it.”

4
“Charles Acland writes that “the problem with film studies has been film, that is, the use of a medium in order to designate the boundaries of the discipline. Such a designation assumes a certain stability in what is actually a mutable technological apparatus. A problem ensues when it is apparent that film is not film anymore.” This is also a problem with television studies, for, I would quibble with Acland, film has never been (just) film, nor has television ever been (just) television. Thus, while “screen studies” exists as a discipline encompassing both film and television studies, we need an “off-screen studies” to make sense of the wealth of other entities that saturate the media, and that construct film and television.” This is all bs. There needs to be a reset of thinking -> EA!

5
“Within the entertainment industry, it refers to a strategy of multimedia platforming, linking a media product to related media on other “platforms,” such as toys, DVDs, and/or videogames, so that each product advertises and enriches the experience of the other.” Disney’s total advertising or whatever it was called?

7
Definition-storyworld: storyworld = the whole text, not just the film, etc.
“a film or program is but one part of the text, the text always being a contingent entity, either in the process of forming and transforming or vulnerable to further formation or transformation. The text, as Julia Kristeva notes, is not a finished production, but a continuous “productivity.” It is a larger unit than any film or show that may be part of it; it is the entire storyworld as we know it. Our attitudes toward, responses to, and evaluations of this world will always rely upon paratexts too.”

8
“And yet media, film, television, and cultural studies frequently stick solely to the films and television programs with a loyalty born out of habit. John Caldwell notes the film and television industries’ widespread devaluation of “below the line” workers as lesser than the “above the line” directors, producers, writers, and actors. Media studies, too, often risk a similar devaluation of those whose labor and creativity can be just as constitutive of the text as that of the above-the-liners.”

11
“in this book I will argue that paratexts play as much of a role as does the film or television program itself in constructing how different audience members will construct this ideal text.”

22
“While paratexts can at times be seen as annoyances, as “mere” advertising, and/or as only so much hype, they are often as complex and intricate, and as generative of meanings and engagement, as are the films and television shows that they orbit and establish. To limit our understanding of film and television to films and television shows themselves risks drafting an insufficient picture not only of any given text, but also of the processes of production and reception attached to that text. Paratextual study, by contrast, promises a more richly contextualized and nuanced image of how texts work, how and why they are made, and how and why they are watched, interpreted, and enjoyed.”

23
“If we imagine the triumvirate of Text, Audience, and Industry as the Big Three of media practice, then paratexts fill the space between them, conditioning passages and trajectories that criss-cross the mediascape, and variously negotiating or determining interactions among the three. Industry and audiences create vast amounts of paratexts. Audiences also consume vast amounts of paratexts.” -> The glue! The glue!

30
“One can hold a roll of film or a tape of a television program, but that is the work alone—the text is only experienced in the act of consumption. However, Barthes defines this act of consumption as one of production because no text can be experienced free of the individual reader. In effect, all of us bring to bear an entire reading and life history to any act of textual consumption, so that each one of us will find different resonances in the same text.”
“Thus, while the work consists of letters on a page or images on a screen, the text comes alive in the interaction between these letters or images and the reader.”

30f
“The magic and majesty of art rely upon the individual spark that occurs between work and reader as the reader participates in the birth of the text.”

32
“Iampolski (echoing Barthes) notes, “only the viewer or reader can unite the text, using his [sic] cultural memory to make it one.””

33
“When a text seemingly has one meaning, to Fish this only means that one interpretive community is dominant, effectively controlling the context of reception, setting the terms by which any reader will approach the text.”

34
“via the pre-existing para-/inter-textual network of Bond, we will always arrive at any new Bond text with a sense of what to expect, and with the interpretation process already well under way.”

40
“Brooker proposes the notion of “overflow,” evoking an image of a text that is too full, too large for its own body, necessitating the spillover of textuality into paratexts. As much as synergy attempts to capture audiences’ attention and bring them to the show, much modern synergy is best understood as offering value-added, rather than simply announcing the show’s presence.” -> EA effectively already exists.

44
“”There is neither a first word nor a last word. The contents of dialogue are without limit. They extend into the deepest past and into the most distant future. Even meanings born in dialogues of the remotest past will never finally be grasped once and for all, for they will always be renewed in later dialogue. At any present moment of the dialogue there are great masses of forgotten meanings, but these will be recalled again at a given moment in the dialogue’s later course when it will be given new life. For nothing is absolutely dead: every meaning will someday have its homecoming festival. The intertextual dialogue and life of texts remains perpetually open.“”

45
“there is never a point in time at which a text frees itself from the contextualizing powers of paratextuality.”

46
As analysts, we might be tempted to think of the paratexts here as mere residue, or a long shadow, of the show, but individual audience members may not care to make the distinction between paratext and show. Precisely because the language of “paratextuality” is absent from everyday talk of film and television, and because the desire to delineate exactly what is and is not “the text” is often an analyst’s alone, not an average audience member’s, frequently we may find that audience talk of and reaction to a text may have originated with the paratext, yet been integrated into the individual audience member’s conception of “the text itself.”” -> EA has already been delivered for a while, from the audiences point of view. Even if producers didn’t see it that way.
“since paratexts have, as I have argued and as the remaining chapters will show, considerable power to amplify, reduce, erase, or add meaning, much of the textuality that exists in the world is paratext-driven.”

50
“the trite opening common to many trailers: “In a world where . . .”” Movies try to establish a storyworld in a very short time. Trailers even quicker.

70
“When we speak of authors, [...] we often speak of what Michel Foucault dubs the “author function”—not a real figure but a projection, “in more or less psychologizing terms, of the operations that we force texts to undergo, the connections that we make, the traits that we establish as pertinent, the continuities that we recognize, or the exclusions that we practice.””

75
“Opening credits help to transport us from the previous textual universe to a new one, or out of “real life” and into the life of the program (even if a growing number of shows are opting for cold starts to throw the viewer right into the action).”

79
“Working in medias res, paratexts also attempt to police proper interpretations, insisting on how they would like us to read the text.” -> If everything advertises everything (Disney’s total merchandising/advertising), every EA chunk is in effect advertising for every other EA chunk, then the entarch is able to convey a more coherent (auteur) message!

86
“The “old sense of broadcast media” they allude to is, I would pose, that of the show-based model. In the “new” model, the text is now dispersed across not only the show, but also its multiple paratexts.”

97
“while Benjamin writes of aura as though it is born with the text, aura must be assigned with paratexts; his concern lies with the degree to which aura and value can be reassigned with different paratexts.”
“while Benjamin focuses on how reproduction can lessen aura, surely we might explore ways in which reproduction might change the text, add context, “tradition,” and “presence,” and thereby increase aura.”

108
“For television in particular, the explosion of websites, the increase in entertainment news magazines and programs, and the advent of DVD bonus materials and podcasting have made executive producers/showrunners considerably more visible than in earlier years of the medium. With this visibility, these individuals are more and more able to add their voice to the audience’s understanding of their products, and thus are increasingly able to construct themselves as authors, televisual counterparts to Peter “Frodo” Jackson.”
-> Entarchs can become stars!
“Barthes’s essay was more of a strategic, rhetorical killing than an actual obituary. He saw the study of texts “tyrannically centred on the author, his [sic] person, his life, his tastes, his passions,” thereby neglecting the fact that “it is language which speaks, not the author; to write is, through a prerequisite impersonality [. . .] to reach a point where only language ‘performs,’ and not ‘me.’””
“Barthes closed his article, “the birth of the reader must be at the cost of the death of the author.””

108f
Foucault argues that “it is not enough to declare that we should do without the writer (the author).” People still talk about authors, he notes, not necessarily as real people, but as projections of our hopes, expectations, and established reading strategies for texts. In particular, the author—or “author function,” as Foucault calls it—takes on the role of being classificatory, indicating “a constant level of value,” “a field of conceptual or theoretical coherence,” “a stylistic unity,” and “a historical figure at the crossroads of a certain number of events.”

109
“Playing off this last use for the “author function,” and following from the above discussions of DVDs, aura, and value, we could add that the value function of authorship can more generally lend weight and substance to an entire medium.”

112
Good references/concepts for author-audience-relationship:

Lotman sees winners and losers.
Barthes asks for an expected practice of “practical collaboration” of the reader with the text.

113
“we might regard television authors as mediators between the industry and audiences, and the author function as a discursive entity used by the industry to communicate messages about its texts to audiences, by the creative personnel often conflated into the image of the author(s) to communicate their own messages about these texts to audiences, and by audiences to communicate messages both to each other and to the industry.”
-> They turn JJ Abrams, for example into a superstar.
“Paratexts carry these messages, and thus frequently serve as both the words and the content of discussions among text, audience, and industry.”

114
“With more than half of the average foreign film’s domestic box office coming from New York City alone, as Michael Wilmington has noted, the New York Times has “veto power” over a foreign film’s future.”

115
“All shows have paratexts, and all require their paratexts to create frames of value around them, but different genres will favor or disfavor different types of paratextuality.”

117
Definition-paratextuality:
Definition-intertextuality:
“Intertextuality is a system that calls for the viewer to use previously seen texts to make sense of the one at hand. As Laurent Jenny notes, it “introduces a new way of reading which destroys the linearity of a text,” instead opening the text up to meanings from outside, so that often much of (our understanding of) a text will be constructed outside of the text. And while it is more obvious in examples such as West Side Story, The Colbert Report, or The Sopranos, no text creates its entire meaning for itself by itself, as viewers will always make sense of a new text using structures and orders of meaning offered to them by other texts, genres, and viewing experiences. Intertextuality is always at work, with texts framing each other just as I have shown paratexts to frame texts. In this regard, paratextuality is in fact a subset of intertextuality. What distinguishes the two terms is that intertextuality often refers to the instance wherein one or more bona fide shows frame another show, whereas paratextuality refers to the instance wherein a textual fragment or “peripheral” frames a show.

140
“as was seen with the Six Degrees hype and the American Sweet Hereafter trailer in chapter 2, paratexts can often lead audiences down blind alleys, and should by no means be considered inherently helpful, just as not every clue that detectives find at a crime scene will aid their investigation.”
-> EA elegance versus EA shit!
“paratextuality and intertextuality are not always self-motoring systems.”
-> In EA elegance consumers are led to the next granule. In EA shit consumers are lost.
-> EA helps in achieving this elegance!

141
“once one consults audience discussion, one starts to see both how radically and how subtly it can toggle, dismantle, or revise the careful planning of Hollywood’s textual systems.”
-> That’s because Hollywood does not have an integrated approach like EA. Still, an entarch needs to remember he can only steer so much.

146
“Fan creativity can work as a powerful in medias res paratext, grabbing a story or text in midstream and directing its path elsewhere, or forcing the text to fork outward in multiple directions.”
““A marked or annotated book,” Jackson notes, “traces the development of the reader’s self-definition in and by relation to the text. Perhaps all readers experience this process; annotators keep a log.”” -> If somebody sees my annotations to a book, he knows to some degree how I think.

160
“Fan fiction, writes Coppa, “is community theatre in a mass media world,” a staging and therefore a reading of a text.”

165
“rather than see media firms’ paratexts and fans in competition or contrast, we [academics] should also acknowledge the increasing incidence of media firms creating policed playgrounds for fans, setting up fan sites that invite various forms of fan paratextual creativity and user-generated content, yet often imposing a set of rules and limitations and/ or claiming legal rights over the material.”

166
“a text is always already a collaboratively created entity, and regardless of how media firms rewrite copyright law to give them power of attorney over a text, the only texts incapacitated enough to be ownable are those that have absolutely no social relevance or audience attention.” Fucking A!

174
Definition-storyworld:
“All [spoilers, vids, recaps, wikis, reviews, websites, campaigns, viewing parties, etc.] underline the considerable power of viewer-end paratexts to set or change the terms by which we make sense of film and television, and, hence, to add or subtract depth and breadth to a text and its storyworld.”

177
“Writing in 1992, before the franchise’s proliferation of videogames, and before the second trilogy opened the floodgates for yet more merchandise sales, Stephen Sansweet noted that Star Wars had amassed over $2.5 billion from merchandise alone.”

187
“Buoyed by the invitations of licensed toys and other childhood merchandising, film and television narratives are open for business—or, rather, for play—and have been for many years, whether media firms and their legal teams like it or not. Paratexts have extended this invitation to play, as they have contributed to the text with their own suggested meanings, and have offered consumers opportunities to contribute further to the text themselves.”

192
According to Linda Hutcheon, “the process of adaptation frequently moves a story across different modes, opening up new possibilities for both the storyteller(s) and the audiences. In particular, she notes three modes of narratives:

telling, as in novels, which immerse us “through imagination in a fictional world”;
showing, as in plays and films, which immerse us “through the perception of the aural and the visual”;
and participatory, as in videogames, which immerse us “physically and kinesthetically.”

Thus, a videogame adaptation—or at least a good one—is not merely an attempt to rehash or to copy; it moves the story, its world, and its audience to a different narrative mode, wherein the audience can step into (parts of) the storyworld.”

196
“Allowing fans, and giving room to play, is often of vital importance, but requiring that all viewers be fans is an immodest and potentially destructive move, even for sequels of cult properties such as The Matrix.”

202
“the What Happened in Piedmont? puppetmasters regularly received posts from readers who clearly did not understand that this was fictional, and from many others whose in-frame postings made it unclear whether they believed in the conspiracy or were simply playing along.”

205
“this chapter has argued that for some viewers, the text is at its most interesting, engaging, and/or meaningful at the outskirts.” -> The glue! The glue!
“Engaging with any form of entertainment, particularly of a fictional nature, is a form of play, and thus texts are essentially spaces for play and the reflection it inspires.” -> Has play also always been part of entertainment, just like story?

206
“some film and television franchises have embraced the creative and contributive capacities of paratexts and have moved toward a model of media creation that works across media, networking various platforms, styles, and even textual addresses to fashion a more developed text.”

207
3 key tasks for entarchs:

“Balancing alternate-sized textual universes is rapidly becoming a key task for media producers.
Furthermore, since each paratext can toggle or even short-circuit the text (as examples throughout this book have illustrated), another key task is for media producers to streamline their various paratexts.
And a third key task is to open sufficient room for storyworlds to be inhabitable, so that viewers have the interest in commandeering portions of the world, as well as the ability and freedom to create their own parts of and paths through this world.

Making all of these tasks considerably harder is many companies’ and shows’ apparent lack of dedicated creative personnel whose job it is to oversee the smooth flow of textuality and meaning between films, programs, and paratexts.” -> Opportunity for EA!
“While I argue for the creative potential that is fostered by streamlining shows and their paratexts, and while I am critical of some instances when show and paratext work independently, by no means do I wish to suggest that all texts should reign in their paratexts. At times, the push and pull between different meanings among paratexts or between the show and a paratext will be responsible for some of the text’s vitality.”

208
There are “what we might call textually “incorporated” and “unincorporated” paratexts.”

208-210
He mentions unincorporated paratexts as a pizza branded as The Dark Knight. A branded pizza paratext might be incorporated in the case of Spider-Man or Ninja Turtles.
-> But all things that cannot be controlled, like people talking at the water cooler, are unincorporated paratexts too!!! Right?

210
“By contrast, this book has also presented numerous cases of paratexts that were “incorporated,” adding to the storyworld and allowing viewers chances to explore that world further or even to contribute to it.”

211
“some in Hollywood have started to call [EA] “360 degree” storytelling”

214
New understanding/role of marketing, it becomes part of the story:
“both producers and audiences are encouraged to look upon the paratexts as far more than just a marketing tool, though they may well be that as well. Rather, they are invited to incorporate the paratext into their text, and to see the creation of that paratext as part of the act of creating the text in general.”
“paratexts have significant value, in and of themselves, but also as components of larger units of entertainment.”

215
Definition-showrunner:
“showrunners of complex, transmediated shows such as Heroes or Lost try to coordinate and incorporate various paratexts into the grand narrative”

216
He uses “bible” in reference to the Simpsons.
“Clearly, for licensed games to work, film and television creators need to get more involved, and they need to allow game designers more freedom and more information, inviting them into the creative process of the text as a whole, while not abdicating as much of the narrative foundations to the games as did The Matrix.” -> Don’t be so normative.

217
“Heroes had a dedicated transmedia team (called this, too, following the team’s interest in Henry Jenkins’s work and use of the term “transmedia”).”

218
“While Alexander, Warshaw, and Andrade were all polite in not naming names or expanding upon other less-rewarding experiences, all three clearly felt that a commitment to transmedia must come from above.” Fucking A!
“”No one knew if it was marketing or content yet. No one knew a lot of the answers. So there were growing pains during this discovery phase. We had to figure it out along the way. When I was hired on “Heroes,” the transmedia storytelling concept was pretty foreign to the studio, network, and some parts of the show. New structures had to be built and ways of doing business defined. They literally created a transmedia production manual. Now there are templates.“” -> INTERVIEW!!!
“Andrade offered a telling metaphor in speaking of transmedia as a “three-legged stool,”:

promoting the show while

serving as both a vehicle for ads and a

site for story development.

Transmedia’s success and commercial viability, he argued, relies on all three legs being strong.”

219
“Film and television have always been collaborative media, but the small, elite club of “above the line” creators may need to open its doors if its members are dedicated to integrating paratexts seamlessly and intelligently. A common complaint from transmedia creators—and one that is evident in many a paratext—is that the network or studio allowed little or no real collaboration or discussion between paratext creators and the film’s director or the television program’s writing staff.”

220
“Everything’s a jumpball right now, with all of us [media corporations] trying to invest in everything,” until the picture of transmedia’s future becomes clear. To this end, and working together, Alexander and Matt Wolf are floating the idea of creating a storyworld that precedes any of its given media iterations, rather than follow the current status quo of letting the transmedia follow the individual show.”
“All of the paid paratext creators to whom I spoke talked of fan involvement with their shows with considerable passion and enthusiasm, with Alexander stating that it shouldn’t just be the writers “who get to have all the fun, the fans should get to have fun as well.” But surely not all fan practices are equal in all creators’ eyes, and production ethnographies and histories would undoubtedly uncover the areas of tension better than have my own questions.”

221
“In the DNA”
“As paratexts, convergence, and overflow increasingly bring texts together, however, and as it therefore becomes increasingly difficult to study any one medium in isolation, paratextual study will become all the more important and all the more helpful, and paratextual creation will similarly become all the more vital for any would-be successful text or franchise.”

Müller, E ~ Unterhaltung im Zeitalter der Konvergenz

Woitek Konzal — Wed, 04 Aug 2010 13:09:52 +0000

Müller, Eggo
2009
Unterhaltung im Zeitalter der Konvergenz

Entertainment = Unterhaltung

220
“Unterhaltung is [...] historisch bestimmt.” According to Hügel.
-> the word “entertainment” means something -> because of history
-> will the word survive, but the meaning be entirely different?
-> will entertainment (in our historical sense) disappear?
-> or will the word itself disappear?
=> I think youth will appropriate it.

222
“Dabei soll das Konzept der Convergence Culture, wie es Henry Jenkins (2006) expliziert hat, den Ausgangspunkt für meine Erörterung der Frage bilden, was es für >unsere< Unterhaltungskultur bedeutet, wenn sich Unterhaltung nach ihrer Emanzipation zur eigenständigen kulturellen Institution nicht nur mehr und mehr entgrenzt, sondern wenn sich mit jüngsten technologischen Transformationen der Medien und dem Entstehen von >Kulturen der Konvergenz< jene spezifischen Produktions-, Distributions- und Rezeptionsverhältnisse verändern, die die Emanzipation der Unterhaltung im 19. Jahrhundert und ihre kulturelle Dominanz im 20. Jahrhundert erst ermöglicht haben.”

223
“Bekanntlich ist die historische Entwicklung der Unterhaltung nicht denkbar
ohne das Entstehen der Massenmedien mit den ihnen eigenen Merkmalen
der Arbeitsteilung, wie sie für moderne Industriegesellschaften charakteristisch
sind (MAASE 1997). Nicht nur in der Sphäre der gesellschaftlichen Produktion, auch in der Sphäre ihrer kulturellen Reproduktion ist die Trennung in Produzenten und Konsumenten bestimmend für den Charakter kulturellen Austauschs von Unterhaltung als Produkt, das durch professionelle Unterhaltungsmacher für ein breites Publikum hergestellt wird und das auf dem Markt der Unterhaltung als Ware zum Konsum angeboten wird. Dass Unterhaltung als Ware gehandelt und konsumiert werden konnte, hat zu ihrer historischen Stabilisierung als kultureller Form beigetragen, wie die >Ware< Unterhaltung als kulturelle Form sicherlich auch wesentlich zum Erfolg der technischen Massenmedien im 20. Jahrhundert und insbesondere zum Erfolg des Fernsehens als der Inkarnation des Unterhaltungsmediums (vgl. MÜLLER-SACHSSE 1981) beigetragen hat."
"Die Konvergenz der Medien impliziert vor allem eine Neudefinition des Verhältnisses zwischen den Sphären der Produktion und der Rezeption (vgl. MÜLLER 2oo9a).”

225
“Unterhaltung lässt sich, so lautet ein weiterer Lehrsatz aus der ersten Lektion im Hügel’schen Propädeutikum zur Theorie und Geschichte dieser besonderen kulturellen Form, nur »als Prozess, als Vorgang oder als Beziehung « fassen (1993a: 121)”

226
“im Unterschied zu bloßer Zerstreuung [ ... ] erlebt der Unterhaltende sich jedoch als anwesend; er braucht zwar kein Engagement aufzubringen, läßt aber die Möglichkeit zu, dass die Unterhaltung ihm etwas sagt« (HÜGEL 1993: 137f.).”

228
“Ich will [...] fragen, welcher Art der Prozess respektive die Beziehung ist, die YouTube bei denjenigen >usern< initiiert, die aktiv am Online-Video-Sharing teilhaben.”

229
“YouTube-Clips beanspruchen demnach nicht, abgeschlossene ästhetische >Schöpfungen< unbekannter >Autoren< zu sein; sie stellen vielmehr Beiträge durchschnittlicher >user< dar, die einen Baustein zum kollektiven kreativen oder diskursiven Prozess beitragen: YouTube erscheint in dieser Perspektive als ein Universum unendlicher Texte, die niemals abgeschlossen sind, sondern immer wieder umgeschrieben, neu arrangiert und montiert, redigiert und ergänzt, verzerrt oder verstümmelt, wiederholt, widerlegt und fortgeschrieben werden."

230
"Partizipation [ist] die raison d’être von YouTube”

234
“Beispiele hierfür sind Formen, die in der anglo-amerikanischen Literatur als »enhanced television« (VAN VLIET 2001), als »overflow television« (BROOKER 2001) oder als »engagement television« (ASKWITH 2007) beschrieben worden sind.” -> Transmedia storytelling with traditional medium (TV) in mind -> not “native” transmedia storytelling.

234f
“Es ist vor allem die Frage, ob damit zugleich auch grundsätzliche neue Formen kommunikativer Beziehungen dominant werden, die an die Stelle der Beziehung der Unterhaltung treten werden. Derzeit scheint mehr darauf hinzudeuten, dass Unterhaltung sich auch im Web 2.0 neben anderen kommunikativen Praktiken einen platz erobern wird und damit auch neue Formen der Partizipation prägen wird. Ob und wie das den Charakter der Unterhaltung wie den der Partizipation verändern wird, bleibt abzuwarten.”

235
“Ende der >Epoche der Unterhaltung<"
-> possible -> in the sense that entertainment will change so much that we can’t call it entertainment (in our sense of the word) anymore

Pratten, R ~ Transmedia – Platform Selection

Woitek Konzal — Thu, 20 May 2010 05:20:52 +0000

Pratten, Robert
2010
Transmedia – Platform Selection

“How do I motivate audiences to cross platforms?”

Definition “story”, “storyworld”, “experience”
“Think of the story has having two components:

“the story” – the whole world that’s created with all the characters stretching out in chronological order
“the experience” – how the storyworld is revealed to the audience (timing and platforms).

Note that the story might be much larger than the project you’re working on now.
Our objective throughout this process is to have the story and the experience of the story integrated with the business model.”

Although you started with the story in mind, platform selection has rightly focused on the experience. Now is the time to sanity check the experience and see if there’s any missing story, story that now needs adapting or story + experience that can be improved.
For example, now you have a roll-out strategy for your platforms (the experience), iterate back through the story and looking for these types of opportunities (in no particular order and please add more of your own):

Twists
Surprises
Cliff hangers
Inciting incidents
Reunions
Breakups
Conflict
Discovery
Exposition
Reversals
Suspense
Threats
Complications
Conclusions”

He says “roll-out strategy” = “experience”.
Jeff Gomez (I think in the interview with Lance Weiler) said “bible” = “roll-out strategy”.
Is the bible the experience? No. Is it the blueprint of the experience? I think so.

Koljonen, J ~ Eye-witness to the illusion

Woitek Konzal — Sun, 06 Dec 2009 06:53:56 +0000

Koljonen, Johanna

185
“Perhaps role-playing games should be divided into three categories: those that are created all through visualisation (tabletop), those that require conti-nuous translation (free-form and larp) and those in which the environment can be accepted at face value (larping in the 360° environment). In the last category, the process of role-playing is the least cerebral. It becomes immediate, physical, and social. It may not even be role-playing in the sense of constructing a shared fiction. As a mental process, it lies closer to the sense in which we role-play in our everyday lives – except that in this role, we actively censor recollections of our other roles and environments.“

Segal, E ~ For The Future Of The Media Industry

Woitek Konzal — Mon, 16 Nov 2009 03:06:37 +0000

Potentially good investor! See end of article.

“[The entertainment industry] must begin to create a product that is not simply a static digital file that can be easily copied and distributed, but rather view media as a dynamic [iTunes type] “application” with extensions via the web. This howl is the future evolution of the media industry.”

“The premise of extending the media experience to the cloud is a core necessity for the survival and growth of the media industry. It is the only way to for media companies to weather the coming tsunami of increased bandwidth and the ever open web. Hybrid media packaging with both files and an application layer in the cloud is core to a lucrative future.”

“A complete experience will unfold that will be interactive and convert to new revenue streams. Not just a purchase of a track but of an app that pulls consumers into an experience and further promotes user engagement and virality. Media becomes a platform with a funnel of traffic and conversions to alternative revenue streams.”

“If you are a media exec and you look at your product and at the end of the day it’s a digital file that can be copied, then you have a serious problem with your format.”

“That level of engagement will directly map to reduction in piracy as consumers will pay for this experience and wont be able to copy it. Sell access and experiences, not media files.“