| Course Name | Transmedia Storytelling |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 410 | Fall/Spring | 3 | 0 | 3 | 5 |
| Prerequisites | None | |||||
| Course Language | English | |||||
| Course Type | Elective | |||||
| Course Level | First Cycle | |||||
| Mode of Delivery | Online | |||||
| Teaching Methods and Techniques of the Course | ||||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | Develop a perspective on telling stories across digital media. Develop skills in interacting with the user (narratee). To be able to relate communication technologies with narrative possibilities. |
| Learning Outcomes | The students who succeeded in this course;
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| Course Description | This course is based on the paradigmatic shift in storytelling. It starts out positionning storytelling in digital media as opposed to its more traditional forms. It then introduces a number of cases, such as interactive narratives, of more participatory nature. Work by creative media writers and artists such as Lance Weiler will be studied. Students are expected to bring to the class samples of storytelling in digital media and analyze them in terms of the possibilities they oer. They will produce written work and finally a term project prepared for pitching at the end of semester. |
| Related Sustainable Development Goals | |
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| Core Courses | |
| Major Area Courses | ||
| Supportive Courses | X | |
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | Introduction to Transmedia Storytelling | “What is transmedia anyway?” pp. 13/21 |
| 2 | Story creation, design and method in Digital Media | “Learn Basics of Traditional Storytelling” pp. 55/59 |
| 3 | The Balance of Story vs. Game | “Conveying Action Across Multiple Media” pp. 83/93 |
| 4 | Storytelling and the attention economy | “The Four Creative Purposes for Transmedia Storytelling” pp. 55/69 |
| 5 | Writing with/for the user/reader | “Make Your Audience a Character, too” pp. 148/163 |
| 6 | User Narratives | “Challenging the Audience to Act” pp. 137/149 1. homework delivery (synopsis for a transmedia project) |
| 7 | Research and Development | “Project Management: The Unsung Necesssity” pp. 163/171 |
| 8 | Storytelling and Game Design | “Online, everything is a Characterization” pp. 83/93 2. homework delivery (analysis of a transmedia project) |
| 9 | Designing an Interactive Documentary | http://lanceweiler.com/portfolio/bear71/ |
| 10 | Creativity and Technology | |
| 11 | Ideas for a Transmedia Project | 3. homework delivery (draft presentation of the transmedia project) |
| 12 | Designing the Experience I | |
| 13 | Designing the Experience II | |
| 14 | The Business of Digital Storytelling | “Brining Your Story into the World” pp. 209/223 Project delivery (script or detailed presentation of the transmedia project) |
| 15 | Overview | |
| 16 | Evaluation of Final Projects |
| Course Notes/Textbooks | Andrea Philips, A Creator's Guide to Transmedia Storytelling: How to Captivate and Engage Audiences across Multiple Platforms McGrawHill 2012. |
| Suggested Readings/Materials | Kelly McErlean, Interactive Narratives and Transmedia Storytelling Creating Immersive Stories Across New Media Platforms Routledge 2018 Carol Vernallis, Holly Rogers and Lisa Perrott (Edited by), Transmedia Directors - Artistry, Industry and New Audiovisual Aesthetics Bloomsbury 2020 Marta Boni (Edited by), World Building - Transmedia, Fans, Industries Amsterdam University Press 2017 |
| Semester Activities | Number | Weigthing |
| Participation | ||
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | 2 | 40 |
| Presentation / Jury | 1 | 40 |
| Project | ||
| Seminar / Workshop | ||
| Oral Exam | 1 | 20 |
| Midterm | ||
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade | ||
| Weighting of End-of-Semester Activities on the Final Grade | ||
| Total |
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Course Hours (Including exam week: 16 x total hours) | 16 | 3 | 48 |
| Laboratory / Application Hours (Including exam week: 16 x total hours) | 16 | ||
| Study Hours Out of Class | 16 | 4 | 64 |
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | 2 | 6 | |
| Presentation / Jury | 1 | 18 | |
| Project | |||
| Seminar / Workshop | |||
| Oral Exam | 1 | 8 | |
| Midterms | |||
| Final Exams | |||
| Total | 150 |
| # | Program Competencies/Outcomes | * Contribution Level | ||||
1 | 2 | 3 | 4 | 5 | ||
| 1 | To be able to have fundamental knowledge about narrative forms in cinema, digital and interactive media, and the foundational concepts relevant to these forms. | X | ||||
| 2 | To be able to create narratives based on creative and critical thinking skills, by using the forms and tools of expression specific to cinema and digital media arts. | X | ||||
| 3 | To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media. | X | ||||
| 4 | To be able to perform skills such as scriptwriting, production planning, use of the camera, sound recording, lighting and editing, at the basic level necessary for pre-production, production and post-production phases of an audio-visual work; and to perform at least one of them at an advanced level. | X | ||||
| 5 | To be able to discuss how meaning is made in cinema and digital media; how economy, politics and culture affect regimes of representation; and how processes of production, consumption, distribution and meaning-making shape narratives. | X | ||||
| 6 | To be able to perform the special technical and aesthetic skills at the basic level necessary to create digital media narratives in the fields of interactive film, video installation, experimental cinema and virtual reality. | X | ||||
| 7 | To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives. | X | ||||
| 8 | To be able to participate in the production of a film or digital media artwork as a member or leader of a team, following the principles of work safety and norms of ethical behavior. | X | ||||
| 9 | To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments. | X | ||||
| 10 | To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media. | |||||
| 11 | To be able to use a foreign language to communicate with colleagues and collect data in the field of cinema and digital media. ("European Language Portfolio Global Scale", Level B1). | X | ||||
| 12 | To be able to use a second foreign language at the medium level. | |||||
| 13 | To be able to connect the knowledge accumulated throughout human history to the field of expertise. | |||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
