Faye Martel has contacted me, she is the first researcher in the Philippines I’m aware of looking at the area of cross-media. She’s doing an MA in Communications at the Ateneo de Manila University. At present, she’s struggling to find some cross-media projects in the Philippines…and so am I. So, if you know of any, please let me know.
At present Faye’s research seems somewhat skewed by her lens through the crossmedia entry in wikipedia. The entry was written by my colleague Monique De Haas and while I think it is great she has got the ball rolling, I think some more information about the different meanings for cross-media is needed. I also think that some appropriate links should be in there — at present I just see links that people have put in about themselves! So, for a quick reminder about the area:
The Age of Cross-Media Production > Creators Perspective:
- * Can distribute the same content on different platforms (eg: repurposing, porting)
- * Can adapt to a wide range of mediums and art forms (eg: adapting a TV show so it works on the iPod or adapting a film into a videogame)
- * Can create transmedia series and stories (eg: extend a narrative across different platforms)
- Why?:Â to provide choice, to reach fragmented audiences, to leverage different business models, to benefit from local and global audiences, to increase likelihood of impact, to develop an artform, to create a unique experience…
The Age of Cross-Media Production > Audience Perspective:
- * Can access content in my preferred media, at the time I prefer it
- * Can access content according to contextual use
- * Can experience a storyworld in the artform I prefer
- * Can choose what manner of interaction I feel life
- * Can be passive or active, but still share the same world with others
- * Can have a unique experience
- * Can have a personalised experience
- * Can have an ongoing experience/relationship with content and other people
The Age of Cross-Media Production > Academic Perspective:
- * How is this different to franchises?
- * How is this different to ‘tie-ins’?
- * Is this commericial exploitation or an artform?
- * How do extant theories of narrative and game recognise or not these forms?
- * What are the infrastructural changes occuring due to these forms?
- * What is the theoretical and creative heritage of these forms?
- * Is it really new?
- * What are the factors influencing these forms?
etc…
I’d be interested to see your research questions and your research Faye, and many of the other researchers out there (as I’m sure all of you are about mine! — you’ll see some of my research come out soon!). 🙂
Faye’s blog: http://crossmediathoughts.blogspot.com/