Employer expectations of public relations graduates’ transmedia storytelling proficiency

The rapid evolution of information and communication technologies presents challenges for public relations educators as they seek to develop pedagogical approaches that balance theoretical concepts with a practical or ‘working’ knowledge of new media platforms. The incipient practice of transmedia storytelling in public relations contexts offers a timely example of this pedagogical flashpoint. In this study, the authors explored the incorporation of transmedia storytelling within current public relations practice and employer expectations of the transmedia storytelling proficiency of recent public relations graduates.The study took a qualitative approach with findings based on 15 semi-structured interviews with senior public relations professionals from four Australian states and five industry sectors. Findings suggest transmedia storytelling campaigns of varying complexity are a common characteristic of contemporary public relations practice, and that digitally literate graduates who can provide evidence of a solid theoretical knowledge and practical skills in relation to transmedia storytelling are highly sought after by the practitioners who took part in the study.

The influence of transmedia storytelling portfolio examples on employer perceptions of public relations graduate employability – a pilot study

Transmedia storytelling is the process of telling stories in an integrated fashion across multiple platforms, traditional and new (Jenkins, 2010). This paper suggests that public relations graduates who include transmedia storytelling examples in their portfolios are considered by hiring managers as displaying greater employability than graduates without them. This finding encourages public relations educators to assess current pedagogy to explore how it approaches the practice of transmedia storytelling. Additionally, educators are encouraged to ascertain whether current curriculum provides ample opportunities for students to develop transmedia storytelling examples as portfolio inclusions for perusal by prospective employers.

Navigating control and illusion: functional interactivity versus ‘faux-interactivity’ in transmedia dance performance

Interactivity – a networked loop in which a performer’s live data feeds a digital system – can bridge the divide between live performance and digital entities in transmedia dance performances. In the ‘entanglement scene’ of Australian Dance Theatre’s Multiverse (2014), choreographer Garry Stewart and the creative coders and animators at the Deakin Motion.Lab utilise ‘faux-interactivity’, or a perceived relationship between the dancers and digital entities that exists only from the perspective of the audience. The spectre of ‘faux-interactivity’ challenges the spontaneity in live, embodied performance art because it both integrates live performance with prerendered digital content and offers a potential structure for a shared, dispersed creative and choreographic process across numerous and shared artistic and technological platforms. This paper investigates the concept of ‘faux-interactivity’, suggesting that its use can be a catalyst for moving beyond the limitations and values of ‘real’, or functional interactive systems within a theatrical context, and positing that definitions of ‘interactivity’ might be further expanded to accommodate the shifting timelines inherent in the disparate creative processes of human performance and coding.

Playing with the history of Middle-Earth: board games, transmedia storytelling, and The Lord of the Rings

Contemporary cases of transmedia storytelling have thrown many conventional understandings of ‘adaptation’ into disarray. The resurgence of tabletop game culture has thus far played a significant role in this, though scholars have largely neglected the subject, particularly in terms of how transmedia relationships reconfigure the meaning(s) shaped by and through games by players. This paper addresses this phenomenon through a close analysis of two board games based on The Lord of the Rings, in which the (re)construction of the story-world of the source text(s) impacts strongly on ‘conventional’ modes of narrative and identification. Governed by the adoption of various mechanics and innovative uses of the ‘competitive-cooperative’ spectrum, such transformations frequently have significant implications for how narrative meanings might be generated through play.

Blockbusters for the youtube generation : a new product of convergence culture

While scholars have paid much attention to YouTube in a Web 2.0 environment, the YouTube blockbuster is yet to be discussed as part of this convergence culture. It differs from transmedia storytelling in that no single company owns or controls the characters or concepts. Once users have elevated videos with rich narrative qualities to the heights of fame within YouTube and other virtual social networks, they are taken from the YouTube archive by global commercial media and given new exchange values in traditional media forms such as books, films, television shows and ancillary products, using fragmented classical narrative techniques to do so. This paper traces the history of the blockbuster as a way of large commercial media adapting to social and technological change after World War II, to its refinements in the 1970s to cater for younger audiences and changes in the media landscape, to its most recent incarnation in YouTube. We argue that the economic and cultural values of the blockbuster are being transformed and refigured by the new form it has begun to take within convergence culture.

The Pinoke Project Performance

The Pinoke Project is a 6 week creative development to create a full-length transmedia dance performance at the cutting edge of artificially intelligent technology, elite contemporary dance practice, and publication. This process will be a collaboration between creative coders, 3D graphics and motion artists, a dance/choreographer, and an embedded dance critic who will work with an artificially intelligent robot, Pinoke, on the creative development of a new stage production as well as the documentation and dissemination of the process. This project is supported by the Victorian Government through Creative Victoria.