terça-feira, 28 de março de 2017

Trans-media learning is using multiple media devices and technological platforms to teach and to learn.

Using trans-media in education is a great way of teaching students to be fluent in digital technology.  There are different ways to use trans media in the classroom.

One way of using trans-media is to create different learning methods using the technology that is available in the classroom.  A text book that children need to read can be summarised into a presentation by the teacher, using games to make children interested in the subject.  Instead of reading the whole book or a chapter of the book to the class the teacher can create a presentation using an overhead projector and computer to explain the subject of the book or the chapter.

Encourage students to develop their own learning tactics using trans-media and to complete research on the subject or ask students to create their own presentation using different digital tools (Freyjadis, 2014).

How can we make the classroom a Trans-media classroom?  Developing a budget to buy digital technology/media.  Making staff and parents aware of the value of digital technology.  Having an in-house ICT teacher, who can help children and staff with digital technology.

Digital education is dynamic, so students should be encouraged to learn and operate digital technology for educational purposes.  What are the benefits of “Digital Education” and a trans media classroom.  Digital education takes students beyond the classroom.  Students  can learn at  their  own pace.  Children develop technology fluency needed for jobs in the 21st century.  Digital education gives students the access to subjects beyond the teacher’s knowledge (Freyjadis, 2014).

In conclusion digital education is important.  Having a trans-media classroom can provide the digital learning a child needs to face the challenges of the future. As technology changes rapidly digital media will develop with it.  Showing children how to use the various digital media in present time will give them the confidence and self-assurance needed when experimenting with and learning with an ever evolving trans-media environment.


Worlds of Learning

Fonte: Teaching and Learning in the Digital World

Para entender de vez: Animação ilustra os 12 passos da Jornada do Herói

Mais mastigado do que isso, impossível

por Carlos Merigo

A Jornada do Herói já não é novidade pra mais ninguém, mas ela continua presente como estrutura fundamental de storytelling e, quando bem feita, funciona para te empolgar e emocionar sem que você sequer perceba.

A animação acima, criada pelo designer holandês Iskander Krayenbosch, ilustra os 12 estágios que cada herói precisa passar, assim como definido por Joseph Campbell em sua famosa obra “O Poder dos Mitos”. Ele foi o responsável por identificar as similaridades das histórias de mitos antigos, criando assim um template indispensável para Hollywood e autores do mundo todo.

Assista acima, em inglês, sem legendas.

Fonte: B9

O que Harry Potter, Katniss Everdeen e Frodo Bolseiro têm em comum com mitos antigos?

O que Harry Potter, Katniss Everdeen e Frodo Bolseiro têm em comum com mitos antigos? E com você? Confiram esse vídeo lindo que explica a Jornada do Herói.

"Na caverna em que você tem medo de entrar está o tesouro que você busca." Joseph Campbell

Fonte: Sobre Sagas

Transmedia Storytelling in the Classroom: Best of (Part 3/3)

At this point in my series on transmedia storytelling, I’ll step down off my Transmedia in The Classroom is Great soapbox to share with you a few of my favorite transmedia series. If you’re reading any of these works with your students, consider exposing them to some (or all) scenes from these fantastic online adaptations:

1 - The Lizzy Bennet Diaries (Pemberley Digital)/ adapted from Pride and Predjudice by Jane Austen: The transmedia series that launched a storytelling revolution. If you’re looking to get into transmedia, this is for sure the place to start. Lizzie is a 20-something grad student with a mountain of student loan debt and a vlog to share her strong voice and perspective. (Relatable much?)

Source: Wikipedia
2 - Emma Approved (Pemberley Digital)/ adapted from Emma by Jane Austen: Lucky for me as a Janeite, adaptations of Jane Austen’s works are very popular! EA was Pemberley Digital’s second transmedia story and perfectly refashions Emma, a heroine whom Austen once famously remarked nobody but herself would like, as a lifestyle and matchmaking coach who gets it wrong a LOT before she learns to get it right.

3 - The Autobiography of Jane Eyre (KalamaTea)/ adapted from Jane Eyre by Charlotte Brontë: Jane is the artistic and principled live-in tutor for the Rochester family. Although unfortunately plagued by production difficulties toward the end of the series (namely with the actor playing Rochester), I think it still stands up. It’s also one of the most naturalistic transmedia stories I’ve seen.

Source: theautobiographyofja.wix.com
4 - From Mansfield with Love (Foot in the Door Theatre)/ adapted from Mansfield Park by Jane Austen: Another Austen classic, this time tackled by a British production company. FMWL’s heroine Fanny is rather more spirited than her textual counterpart, probably a necessity for making this story work in the modern day. The real star of this production? Its acting and the realistic relationships built between the characters.

5 - Green Gables Fables Adapted from Anne of Green Gables (and the rest of the Anne series) by Lucy Maude Montgomery: Most transmedia series last for just one season; GGF is the exception to that rule, capturing elements of the first three Anne books in two seasons. Not as slick and polished in terms of production value as some of the other series on this list, since it was created by college students — but GGF is utterly charming and full of heart, just like its source. You’ll fall in love with Anne, Diana, and Gilbert, and the rest of Avonlea all over again.

Source: YouTube
6 - Frankenstein, MD (PBS Digital Studios presented by Pemberley Digital)/ adapted from Frankenstein by Mary Shelley: Shelley’s Victor Frankenstein has here been transformed into ambitious young medical student Victoria Frankenstein, who vlogs about her experiments in the lab as a way to document what she believes will be her future greatness. I love the gender-bent casting here, and actress Anna Lore does an excellent job portraying a Victor/ia that is ambitious, arrogant, and just disdainful enough of friends and colleagues in her search for scientific breakthroughs.

7 - The March Family Letters (Cherrydale Studios presented by Pemberley Digital)/ adapted from Little Women by Louisa May Alcott: A wonderfully inclusive reimagining of Alcott’s novel, in which Beth identifies as asexual (ace), Laurie is a POC, and uptight Meg must come to terms with her sexuality when she finds herself attracted to Joan (fka John in the original). I think Alcott would love it.
Source: marchfamilyletters.ca
8 - A Tell-Tale Vlog (Shipwrecked.)/ adapted from “The Raven” by Edgar Allan Poe: Okay okay. I admit: ATTV is not technically transmedia since it’s told exclusively in vlog format. Nonetheless, I had to include this ridiculous/hilarious webseries on this list. It shows the dreary Poe’s slog to write “The Raven” while he is annoyingly haunted by a sassy ghost named Lenore, who puts up with none of his nonsense. Shipwrecked. is currently in production for a new webseries, Edgar Allan Poe’s Murder Mystery Dinner Party, which of course includes an actual murder and promises to be as funny as it sounds, featuring other literary guests like Hemingway, Dickinson, and Wilde.

9 - The New Adventures of Peter and Wendy Adapted from Peter and Wendy by J.M. Barrie: My newest find, NAPW proves that even speculative or fantastical texts can be successfully adapted into transmedia set in the present day. Neverland is almost like a regular town, except that it sits on a magical hotspot, meaning there are a large number of fairies hanging around. One of those is Tinkerbell, and the camera often cleverly acts as her POV. I’m obsessed with this adorable rom-com, in which man-child millenial Peter must work through his immaturity if he wants to win back the heart of childhood friend Wendy. It enters its third season this fall.

Source: indiegogo.com
By no means an exhaustive list! There is so much good stuff out there. What transmedia stories are you hooked on?

Fonte: A Classroom With a View

domingo, 26 de março de 2017

Transmedia Storytelling in the Classroom: Applications (Part 2/3)

In my view, transmedia will soon be a powerful presence in the high school English classroom, and deservedly so. These modern retellings of classic texts are fun and imaginative, and students struggling to connect with, say, Victor Frankenstein on the page of Mary Shelley’s novel might better connect with modern-day medical student Victoria Frankenstein in her vlogs.

Source: itsokaytobesmart.com
That brings me to the first application of transmedia stories: they could serve as partner texts in a text set.

A text set is a carefully curated selection of multiple texts that relate to each other in various ways, e.g. thematically, generically, etc, always centered around one key or core disciplinary text. It might be composed of a novel, a short story, a YouTube video, and a critical essay, for instance.

In Adolescent Literacy in the Era of the Common Core  (a fantastic resource, by the by), Cynthia Shanahan proposes that the strategy of asking students to read multiple texts is a beneficial one in many ways. Text sets meet the demands of the Common Core for exposure to many kinds of texts; they encourage students to make intertextual connections between texts; they also foster creative thinking, in that students are less likely to understand one interpretation as the “correct” one.

Text set… sort of. Source: Creative Commons
But perhaps the most important use of a text set in my mind is to increase reading comprehension of complex disciplinary texts, for example, Mary Shelley’s Frankenstein, by pairing them with more accessible texts. These supplementary texts might be more accessible because they rely on a lower lexile level or a more engaging mode like video. I can personally vouch for the efficacy of this approach, having incorporated some key frames from No Fear Shakespeare Graphic Novels: Macbeth in a Macbeth unit with my sophomores this spring.

Here’s where transmedia texts come in. If my students are struggling to get through Frankenstein, a very difficult text that is narrated in epistolary form through multiple frames(!), I might decide to add a transmedia text into the unit to create a text set. In this case I could use PBS Digital Studios’ gender-bent transmedia adaptation, Frankenstein, M.D. Frankenstein, M.D. reimagines Shelley’s classic novel for the modern era, complete with female protagonist/med student Victoria Frankenstein.

Not only does the serial vlog format — like a biweekly online TV show — make the plot easier to understand, it also prompts viewers to perhaps ask new questions of the original text, for example, about the function of female characters who so often end up dead.

A crucial scene from Frankenstein, M.D. Source: jadedskeptic.blogspot.com
As a teacher, I wouldn’t necessarily need to assign the entire transmedia series. I could select certain episodes of key scenes to view in class. I would be willing to bet that plenty of students would be hooked enough to finish it on their own.

Application #2: genre model for multimodal composition

And not only would pairing transmedia adaptations of classic works of literature be an effective strategy for fostering reading comprehension and engagement, it would also be, I believe, an amazing framework for a digital composition assignment. Students could read a text like The Odyssey and be asked to individually or collaboratively create a modern transmedia adaptation of the text. This idea isn’t so different from the final senior project at my school, Book to Film, in which students make a tw0-minute movie trailer based on a book.

Source: luna-maries-diary.tumblr.com
My friend Anne over at Habits of ELA actually composed a transmedia blog and vlog based on the novel Luna for a Young Adult Lit course. If you’re curious what such a composition could look like, check out her entire blog here. It’s a great model for potential student work.

Asking students to compose transmedia texts based on a core text requires them to build several skills, depending on what forms of media they decide to incorporate. They’ll likely have to perform genre analysis on a handful of digital genres that will probably be new to them using the principles of rhetoric. Then they’ll attempt to incorporate those digital genres in their own writing, experimenting with genre conventions (digital literacy is so darn important). They’ll also need to think critically about issues of adaptation, particularly for older canonical texts.The list goes on.

What other applications can you envision for transmedia texts in the English classroom?

In my next post, I’ll round out this series by sharing with you a long list of some of my favorite transmedia series based on classic literature.

Fonte: A Classroom With a View

Transmedia Storytelling in the Classroom: What Is It?? (Part 1/3)

Image source: transmedia-storytelling-berlin.de
The day has FINALLY come — the day that I can share my love of transmedia storytelling with the world of education! This post kicks off a three-part series on transmedia storytelling in the English classroom — we’ll tackle what transmedia is, how to use it in the classroom, and some examples of the best of the best transmedia stories currently out there.

First off, let’s address the crazy vocabulary word in the room: what the heck is transmedia storytelling?? Well, transmedia is an actively emerging (mostly) digital genre, so let’s try to cobble together a definition that makes sense.
  • Pemberley Digital, a major transmedia player and arguably founder of the genre, proposes that transmedia “tell[s] an enriched and immersive story that transcends across multiple formats,” like “Twitter, Facebook, Tumblr, Pinterest, LinkedIn, LOOKBOOK…”
  • Dr. Pamela Rutledge explains the concept in greater detail: “Transmedia storytelling uses multiple media platforms tell a narrative across time. Each media piece—whether it’s a comic, novels, video games, mobile apps, or a film—functions as a standalone story experience—complete and satisfying. Like a giant puzzle, each piece also contributes to a larger narrative. The process is cumulative and each piece adds richness and detail to the story world, such as character backstories and secondary plotlines… Transmedia storytelling is fully participatory.
  • And finally, Dr. Elaine Raybourn, in her TEDx Talk, refers to transmedia as “our next generation learning ecosystems.”
Image source: alfabetovisual.com
Basically, transmedia storytelling is an online experience that narrates a story using multiple digital platforms, especially YouTube, Twitter, and Tumblr.

Many transmedia stories that have come out in the past few years have been adaptations of classic works of literature, reimagined in a modern age and retold using digital technology.* Generally the central character(s) rely on vlogs, or video blogs, to move the narrative along, but characters in-world can also have fully fleshed-out dialogues on other social media platforms like Twitter.

Transmedia takes place in real time — the story unfolds over the course of weeks or even years, and the series itself may be segmented into seasons.

Audience engagement is central to the transmedia experience — vlogs are typically posted once or twice a week, with subscribers eagerly awaiting the next update and commenting voraciously with each other, the series’ characters, and the showrunners in between. Often transmedia stories are funded via crowdsourcing, relying on a passionate audience to defray production costs.

An engaged transmedia audience. Image source: provideocoalition.com
Now that we share a baseline understanding of what transmedia storytelling is, next we’ll consider some possible applications of it in the high school English classroom, of which I believe there are many. Join me next time for Part 2!

*One notable exception to the rule of adaptation is KalamaTea’s webseries All’s Fair Play, inspired by Shakespearean drama but not a direct interpretation of any one play.

Fonte: A Classroom With a View

Sugestões de Leitura

Olá, Amigos

Aqui, colocaremos algumas sugestões de livros que valem a pena ser adquiridos:

Se você tiver algum livro que gostaria que estivesse aqui nesta lista,  deixa aí nos comentários o nome dele, que a gente atualiza a lista. Valeu?

Post atualizado em 02/04/2017

sábado, 25 de março de 2017

A narrativa transmídia como proposta de metodologia para a educação de ensino médio: um modelo aplicado

José Antonio Gallo Junior,
Eduardo Martins Morgado


Assim como as tecnologias da informação estão em constante evolução, a educação, desde o ensino básico ao superior, deve seguir em busca de novas e melhores formas de aprimorar o processo de ensino-aprendizagem, incorporando novas estratégias metodológicas baseadas na convergência dos meios de comunicação e a facilidade de uso das ferramentas digitais do cotidiano dos alunos nas atividades escolares. Tendo em mente esta convergência, este trabalho foi concebido para buscar e criar uma proposta de modelo de aplicação da narrativa transmídia na educação, como uma ferramenta metodológica que permita integrar a nova realidade educacional, levando em consideração a geração atual de alunos, “nativos digitais”, e os conceitos de ensino da educação contemporânea, introduzindo o uso das mídias e tecnologias nas atividades diárias e permitindo ultrapassar os limites físicos da escola por meio do uso dos ambientes virtuais de aprendizagem, mídias sociais e outras mídias, transformando alunos em personagens e participantes do processo da narrativa, além de criar possibilidades para a interdisciplinaridade dos componentes curriculares diversos e o despertar de novas competências e habilidades em alunos, professores e na comunidade escolar como um todo que pode representar um diferencial neste novo modelo.


As well as information technologies are constantly evolving, education from primary school to university must follow for new and better ways to improve the process of teaching and learning, incorporating new methodological strategies based on the convergence of the media and the ease use of digital tools in students' daily life in the school activities. Bearing in mind this convergence this work is designed to seek and create a proposal for a transmedia narrative application model for education, as a methodological tool that allows integrating new educational reality, taking into account the current generation of students, "digital natives", and the concepts of teaching contemporary education, introducing the use of media and technology in daily activities and allowing overcome the physical limits of school through the use of virtual learning environments, social networks and other medias, turning students into characters and participants in the narrative process and create the possibilities for interdisciplinary curriculum of the many components and the awakening of new skills and abilities in students, teachers and the school community as a whole that may represent a difference in this new model.

Como citar este documento
Disponível em: http://hdl.handle.net/11449/13627

Palavra-chave: Narrativa transmídia, Interdisciplinaridade, Objeto de Aprendizagem, Transmedia storytelling, Educação de ensino médio, Objeto de aprendizagem, High school education, Interdisciplinary, Learning object

Transmedia and Education: How Transmedia Is Changing the Way We Learn

By Carolyn Sun 

For one language arts class project, a middle school teacher in Shelburne, Virginia, Chad Sansing, asks his sixth graders to read Peter Cherches’s 1986 poem “Lift Your Right Arm,” and then translate it into computer code. The poem occurs in action sequences—for example, “Lift your right arm, she said./I lifted my right arm.” Sansing and his class conceive a list of actions, sketch ideas of how to code them, using icons or letters, and then code the poem. In doing so, the students become producers of both a new language and way of seeing poetry.
Sansing’s students have also translated the poem’s code into Scratch, to create animation, and into LEGO Mindstorms EV3, a robot-programming language. This innovative way of engaging students with poetry is just one example of how educators are increasingly integrating transmedia techniques in their teaching and assessments.

What is the point of this activity? “To help kids see connections between grammar and code,” says Sansing who shares his lessons on his “Classroots” blog.

Transmedia, a broad descriptive word that literally translated means “across media” and encompasses many strategies that transverse industries, is generally regarded as the use of multiple media platforms to tell a story or story experience. Though the word “transmedia” is thought to have entertainment franchise origins, its adaptation for education purposes is both valuable and becoming more and more common. While teachers like Sansing are using coding and programming in their language arts instruction, others are taking advantage of increasingly sophisticated apps and interactive media for classroom use.

From Gift To Pat The Bunny

Prominent examples of transmedia for young adults include the related book and app Chopsticks by Jessica Anthony and Rodrigo Corral (Penguin, 2012), a mystery about star-crossed teenage lovers told primarily through images—letters, photographs, and texts—which readers can manipulate in the app version. For those who seek it, Chopsticks videos and music clips are available on YouTube. Another example is Andrea J. Buchanan’s Gift (Open Road Integrated Media, 2012), a multimedia young adult novel about Danielle, a high school sophomore with a secret power. It has features such as a soundtrack, illustrations, a companion Minecraft “build-your-own-world” application, and Danielle’s journal.
Absecon (NJ) School District’s book club engages in activities from “39 Clues.
Engaging in transmedia storytelling can mean reading books in Scholastic’s wildly popular “39 Clues” series, which have sold 22 million copies worldwide since the first one came out in 2008, and then playing an interactive “39 Clues” online game. For Abescon (NJ) school district’s library media specialist, Rose Hagar, working transmedia into her after-school book club means her middle schoolers expand on the book’s content. They engage in discovery, like reading about “stone rubbings,” which the kids had never heard of before the series, and then they do some rubbings themselves, using crayon and paper—or research the Catacombs in Paris, a setting in “39 Clues,” only to realize it is a real, not fictional, place.

For the youngest learners, a transmedia moment can mean manipulating an interactive version of Pat the Bunny (S. & S., 1940), produced by Random House for iOS in 2011 that offers a nonlinear, make-your-own-story approach to this classic tactile picture book.

Transmedia is often related to technology, but it does “not have to privilege new media technologies,” according to Becky Herr-Stephenson, Meryl Alper, and Erin Reilly in the report “T Is for Transmedia: Learning Through Transmedia Play” that focused on transmedia play among children ages 5 through 11 (Joan Ganz Cooney Center at Sesame Workshop, 2013).

Also, “it doesn’t have to be high tech or cost a lot of money” says Jeff Gomez, CEO and founder of Starlight Runner Entertainment, a creator and producer of transmedia franchises like Mattel’s Hot Wheels. “Teachers don’t have to have tablets and mobile phones [in the classroom],” says Gomez, who started his career as a teacher in New York City public schools. “The child can create a musical or illustrated version of the text story. The bottom line is that the student needs to be able to look at the world in different ways.”

The term “transmedia” was coined in 1991 by Marsha Kinder, a retired professor of cinema studies at the University of Southern California (USC). In Playing with Power in Movies, Television and Video Games: From Muppet Babies to Teenage Mutant Ninja Turtles (University of California, 1991), Kinder used the term “transmedia supersystems” to describe the powerful, cross-platform reaches of entertainment franchises such as “Teenage Mutant Ninja Turtles,” “Garfield,” and the “Muppet Babies.”

However, New Jersey’s New Milford Public Schools library media specialist Laura Fleming argues “the real roots of transmedia…lie in education, as teachers have long sought out diverse resources and strategies to reach and engage their students” in her report “Expanding Learning Opportunities with Transmedia Practices: Inanimate Alice as an Exemplar” (Journal of Media Literary Education, 2013).

Teaching “Inanimate Alice”

Fleming is known for her extensive teaching use of the interactive fictional Web series “Inanimate Alice,” written and directed by Kate Pullinger. The story, told over ten episodes, begins when eight-year-old Alice is living in a tent in China. After her father, an oil driller, goes missing, she and her mother go on a quest to find him. With a tense, pulse-quickening soundtrack, the story incorporates technologies that students relate to, such as smartphone games, Skype, and GPS. Advancing the plot requires viewers to click a mouse and occasionally interact with the story.

While “Inanimate Alice” wasn’t created for educational purposes, the narrative lends itself to teaching, as Fleming has proven with her classwork. The story’s various locations provide an opportunity to explore geography and history. For her sixth graders, Fleming initially showed her students the first episode without sound and asked them to use T-charts to compare and contrast their ideas about who they think Alice is (and who she actually turns out to be), and predict what will happen. Fleming, who has been both a teacher and a librarian over the past 16 years, includes her lesson plan for her sixth graders on her “Promethean Planet” blog.

One of the best things about “Inanimate Alice,” she says, is that the series has many transmedia opportunities—or “breadcrumbs,” as Fleming calls them—for students wishing to expand on classroom assignments to explore on the Web.
For example, there is an Alice Facebook page (http://on.fb.me/ScjxOa), and by Googling “Inanimate Alice” and “Vimeo” you’ll find that kids have re-created their own versions of “Inanimate Alice” as part of school projects and beyond school. An example is featured on Pullinger’s website.

Narrative productions from the Australian developer Slap Happy Larry also feature compelling stories that lend themselves to educational use. In particular, Midnight Feast (Lynley Stace, 2013), an interactive story (for the tablet) about a future world where food shortages are prevalent, allows users to rub the screen to reveal alternative realities and hidden props. The developers’ site includes links to middle grade lesson plans (http://bit.ly/1mPYdsU) with teaching prompts such as asking students to look at the image of the main character Asaf’s bedroom and then draw and describe their own.

The “Flotsam Project” And Other Explorations

Meryl Alper, co-author of “T Is for Transmedia,” at USC Annenberg Innovation Lab. Photo by Maggie Smith, 2012.
“The best transmedia storytelling serves four key functions. It extends the time line, maps the world, explores secondary characters, and engages the audience,” says Henry Jenkins, USC professor and author of Convergence Culture: Where Old and New Media Collide (New York University Pr., 2006). Jenkins cites “The Matrix” franchise as an example of successful commercial transmedia—with three live-action films, a series of animated shorts, comic books, and video games offering access to “The Matrix” universe in different ways.

Jenkins, who is a chief advisor at USC’s Annenberg Innovation Lab, a research think tank, helmed an assignment with media graduate students called the “Flotsam Project.” In it, his students pitched potential ways to build out the world of David Wiesner’s 2007 Caldecott-winning wordless picture book Flotsam (Clarion, 2006), about a boy who finds an underwater camera that has washed ashore. The camera is full of fantastical photographs after it has made its way through various hands over generations.

The project serves as one of the three case studies in exemplary transmedia play featured in “T Is for Transmedia.” The Flotsam team created a dynamic interactive prototype for the iPad, in which a child can take his or her photo and insert the image into the story itself. In addition, the group proposed collectible Explorer Cards, which the transmedia play report said would “elaborate on the book’s illustrations and related scientific concepts.”

Beyond this important example, the published transmedia offerings for young children are rich. They include the interactive publisher Nosy Crow’s array of fine fairy-tale adaptions for the iPad for younger children; the Jack and the Beanstalk app (2014) incorporates a map, architectural cross-sections, and a changeable ending. Moonbot Studios’ productions of William Joyce’s The Fantastic Flying Books of Mr. Morris Lessmore debuted as an animated film, before being adapted as an app, then a book (2012), and finally, an augmented reality app (apps and film from Moonbot) that functions in conjunction with the book. Another standout, also from Moonbot, is The Numberlys, a cinematic story app with alphabet-related activities (2012) later published as a book (2014, both S. & S.).

“Caine’s Arcade” As Transmedia Play

Flickr photo by ebbandflowphotograph (www.flickr.com/chickpokipsie)
A prominent example of transmedia play is “Caine’s Arcade,” an “elaborate DIY cardboard creation built by a nine-year-old arcade-obsessed boy named Caine Monroy,” according to Herr-Stephenson and her co-authors in “T Is for Transmedia.” Over a summer, Caine constructed a complex cardboard arcade in front of his father’s used auto parts store in Los Angeles, with thoughtful details, like a security system made out of calculators. Monroy and his arcade gained national attention after a Los Angeles filmmaker, Nirvan Mullick, who stopped by the store to pick a car handle, became Monroy’s first customer.
“For adults like me, Caine’s arcade brings you back to your childhood,” said Mullick in an August 2012 story on NBC News.

Mullick used social media sites including Facebook and Reddit to organize a flash mob to surprise Caine and created an 11-minute documentary chronicling Caine’s story. Since the film Caine’s Arcade posted on YouTube (and Vimeo) on April 9, 2012, it has had over four million views on YouTube alone.

Over the course of two years, Herr-Stephenson and her colleagues studied and teased out the successful characteristics of transmedia play, a kind of transmedia learning that Herr-Stephenson says is “a modality of early learning that involves playing, exploration, and experimentation.” In the report, she points to the features of valuable transmedia play: it is social (conversing with others who may be co-located or linked to media/technology); accessible (allowing users to jump in from various starting points); and replayable (encouraging people to revisit multiple times), among others. It can also promote new approaches to reading and learning engagement. “What makes [transmedia play] fun and what makes it valuable for learning tends to dovetail,” says Herr-Stephenson.

The film Caine’s Arcade has practical classroom and afterschool transmedia applications. Kids who watched the video began to post their own versions of cardboard arcades on Facebook and YouTube. Mullick raised more than $235,000 and started the nonprofit Imagine Foundation. The organization inspired transmedia offshoots such as the “Caine’s Arcade School Pilot Program” in Wiki Spaces and the “Global Cardboard Challenge,” where schools can use the short film as a launch pad for transmedia play in classes exploring math, engineering, and more using a variety of materials, including cardboard. Kids around the world—more than 91,000 global participants from 46 countries—can share their project pictures, videos, and stories using the hashtag #cardboardchallenge.

Educational transmedia, at its best, broadens access to students with various learning styles. “Writing…shouldn’t be left out or dropped, but it should be seen as equal to other modes of expression and learning in schools,” says Sansing. But those who may not excel at traditional text reading and writing can find other forms of processing and expression through transmedia. It’s also iterative, inspiring a next level of engagement—which is powerful for the learning process. “[With transmedia], you are opening the door to these larger worlds,” as Herr-Stephenson puts it. “If [kids] really like it, they will build on it.”

About Carolyn Sun
Carolyn Sun (csun@mediasourceinc.com) is a news editor at School Library Journal. Find her on Twitter @CarolynSun.

Fonte: The Digital Shift

sexta-feira, 24 de março de 2017

The 15 Things I've Learned about Transmedia Storytelling

Ingrid Kopp

Ingrid Kopp, the Tribeca Film Institute’s Director of Digital Initiatives, recently shared her wisdom garnered over the year’s she has spent in the transmedia world in a presentation for the X Media Lab conference in Switzerland.  While her initial presentation (available via SlideShare at the bottom of this post) had ten lessons learned, she’s expanded on the original list with five additional dollops of wisdom.  Take a look! Would you add anything?

1. Stories are important

I constantly come back to Chimamanda Adichie’s TED Talk about the dangers of a single story. Stories are powerful, use them well.

2. Technology has always changed how we see and talk about the world

We needed space rockets and cameras to see the world like this from space and it changed our perspective on our tiny little planet. We are in a period of exponential change but technology’s impact on how we tell stories is not new. Think about the invention of writing, of the printing press, of still cameras, movie cameras and then sync sound and lightweight cameras. I love showing this video of the Go-Pro on an eagle and thinking about how technology extends our vision and our perceptions.

Véréna Paravel & Lucien Castaing-Taylor use GoPros to stunning effect in Leviathan too.

3. Collaboration is hard

We are having to collaborate across industries and across disciplines now to make interactive work. This is not easy and requires a lot of translating, patience and new skills. Many of us are on a steep learning curve. We use different words, we attend different conferences and, often, we have different goals. All of this can be fodder for creativity and new ways of working but it requires willingness and effort and initiatives to bring different groups of people together.

4. The audience are makers and the audience has an audience

I love Kevin Slavin’s and Kenyatta Cheese’s video on this for the Future of Storytelling Summit.

Audience behavior has changed and continues to change. We need to think about the audience as makers and doers and potential collaborators.

5. Authorship vs Openness is a challenge

This is hard! There is often a tension between our need for creative control and the desire to create a feedback loop with the audience, or to allow them to be shared authors of a project.

6. Fail Fast Forward

We are learning a lot of lessons from the tech community. One of them is to learn how to fail well, iterate, and improve as you go. This is where our Tribeca Hacks series plays a part – hackathons are great spaces to experiment, try new things and learn how to fail. As Samuel Beckett said: “Ever tried. Ever failed. No matter. Try Again. Fail again. Fail better.”

7. Transmedia can amplify local voices

I’ve been very influenced by Ethan Zuckerman’s work on this. We think a great deal about digital access but also about how we can really use the multiple entry points of interactive, transmedia storytelling to challenge prevailing narratives and amplify local voice. The world is not flat, it’s lumpy, and we can design work that acknowledges that.

8. User Experience Design is now part of what we do as storytellers

Jason Brush gave a talk at SXSW this year called “Filmmaking as User Experience Design.” I’ve been thinking

about what this means for the work that we fund and support ever since. How can you design good stories and story experiences?

“Alma: A Tale of Violence” and “Hollow” come to mind as good examples of what’s been done so far.

9. Stories can be both software and hardware

Lance Weiler’s “Lyka’s Adventure” project got me thinking about how, once you start thinking about stories beyond the screen, they can be reimagined in so many ways. What do stories that use connected devices look like? What kind of documentary would a tiny robot make? We explored this with Robots in Residence at the Tribeca Film Festival this year.

10. We need to show interactive work, not just talk about it

This is why I was so delighted to be asked to program Storyscapes at the Tribeca Film Festival this year and it is why other initiatives like IDFA DocLab and New Frontier at Sundance are so important. Transmedia and interactive storytelling should not be relegated to endless panels!

After I came up with these 10 points I immediately thought of lots more. Here are a few of the most important ones.

11. Learn to listen. Storytelling is as much about listening as telling

12. Make the interaction the story. For example the border in Gaza/Sderot.

13. Be clear about your indicators for success. If you don’t know what success means for your project, you may lose your way.

14. Sometimes you should just delight your audience. Give them things to do that make them feel wonderful. 

15. You may need an exit strategy.

It’s sometimes easier to start a transmedia project than to end one, especially if you get your audience involved and create meaningful partnerships. Many of these projects are “living” on the web and across multiple platforms so what do you do when you want to move on to your next project? No right answer here but it’s something you should consider from the beginning and ask yourself as you develop and design your project.

A narrativa transmídia como estratégia de incentivo à leitura

Elisa C.D. Corrêa


Artigo que discute a narrativa transmídia como estratégia para incentivo ao hábito de ler. Traz o conceito de narrativa transmídia, que consiste na técnica de contar histórias utilizando-se de diferentes mídias para desenvolvê-la e distribuí-la, segundo apresenta Jenkins (2009). Relata exemplos e possibilidades de sua aplicação em diferentes áreas, enfatizando seu uso na Educação, como forma de incentivo à leitura. Conclui enfatizando as vantagens e benefícios sociais no uso dessa técnica para atrair crianças, jovens e adultos ao mundo da leitura no atual contexto da sociedade conectada.

Texto Digital. Universidade Federal de Santa Catarina, Florianópolis, Santa Catarina, Brasil. ISSNe 1807-9288

quinta-feira, 23 de março de 2017

Wodaabe - Die Hirten der Sonne. Nomaden am Südrand der Sahara (1989)

Herdsmen of the Sun (German: Wodaabe - Die Hirten der Sonne)

O Wodaabe são parte da nação Fulani, um subgrupo étnico de pastores e comerciantes. Eles vivem como nômades em todo o Sahel, com as migrações do sul do Níger, através do norte da Nigéria, onde a sua população mais velha de Camarões nordeste e oeste da República Centro-Africano e Chad concentrada. Desprezado por todas as aldeias vizinhas, que eles chamam Bororos (para não ser confundido com os Bororo da Amazônia), traduzido como "gado Fulani", que significa "aqueles que vivem em campos de gado". Wodaabe chamar-se "aqueles que estão sob o tabu de pureza".

O filme Pastores sol (o sol Herdsmen) explora rituais sociais e celebrações culturais Wodaabe tribo de nômades na África Subsaariana, focando com especial destaque para a celebração Gerewol, um concurso de beleza masculina elaborado para ganhar esposas.

No final da estação das chuvas, em Setembro, vários clãs Wodaabe reúnem-se em vários lugares tradicionais, antes do início do início da transumância temporada para celebrar a festa Gerewol. A mais conhecida delas é a Salee Cure (Nomads Festival), realizada em In Gall, no nordeste do Níger. Aqui jovem Wodaabe, com composição elaborados, penas e ornamentos, execute Yaake: danças e músicas para impressionar as mulheres casadeiras, que como uma competição são julgadas por mulheres jovens. O ideal de beleza masculina do Wodaabe salienta estatura, olhos e dentes brancos. O festival é executado por uma semana, fazendo uma série de trocas de bens e esposas consumidos em casamentos.

Ficha Técnica:
Werner Herzog
Patrick Sandrin
Werner Herzog
Jörg Schmidt-Reitwein
Maximiliane Mainka
Release date
Running time
52 min.
Country West


Transmídia e a Cultura da Convergência de Henry Jenkins por Henry Jenkins

Henry Jenkins joins USC from the Massachusetts Institute of Technology, where he was Peter de Florez Professor in the Humanities. He directed MITs Comparative Media Studies graduate degree program from 1993-2009, setting an innovative research agenda during a time of fundamental change in communication, journalism and entertainment. As one of the first media scholars to chart the changing role of the audience in an environment of increasingly pervasive digital content, Jenkins has been at the forefront of understanding the effects of participatory media on society, politics and culture. His research gives key insights to the success of social-networking Web sites, networked computer games, online fan communities and other advocacy organizations, and emerging news media outlets.