The Future of Storytelling, 2017 Digital Dialogue Conference Panel, OMDC

Terrific panel discussion with Nigel Newton, David Caron, Joanne Loton, and David Brady.  Our conference host was the always insightful, Professor Ramona Pringle.

Published on Feb 23, 2017

Panel: The Future of Storytelling

Moderator:
Nigel Newton, Director (Canada), INDE Experience Engineering

Panel:
»» David Brady, CEO, Cream Productions
»» David Caron, Co-publisher and President, ECW Press
»» Joanne Loton, Co-Founder & Executive Producer, Sesqui
»» Dr. Siobhan O’Flynn, Founder, NarrativeNow

The Business of Transmedia | TIFF Industry Conference 2013

SUCH a fun panel with Andy Merkin & Evan Jones!

Published on May 16, 2014

‘Monetization’ is now a dirty word. Transmedia experts will deconstruct the decision-making process behind the successful and the non-successful business models within the transmedia landscape. We will discuss the ‘how’ and ‘why’ behind budgets, wire-models, deliverables, releasing schedules, and operating as platform-agnostic.

Siobhan O Flynn
Co-Founder, Canadian Rep, Transmedia Alliance (MODERATOR)

Dr. Siobhan O’Flynn consults on digital/interactive storytelling, is the co-creator of the online resource site, TMCResourceKit.com, & co-founder of Transmedia 101, a community building & education initiative for Canadian storytellers moving into the digital sphere. She has mentored across Canada, in the Digital Development Lab (CBC/BC Film/New Media BC), Melting Silos (NFB/SFU Praxis), and for the Sheffield Doc/Fest Design to Deliver, & with the Crossover Lab/Sheffield Doc/Fest Convergence Catalyst. She has published numerous articles, given keynotes, workshops and masterclasses around the globe on topics ranging from transmedia and crossmedia development and design and interactive/web documentaries. Siobhan has presented at MIT, StoryWorld SF, the NFB French Program, the CBC, the Screen Edge Forum, Auckland New Zealand, & Transmedia SG, Singapore. Siobhan was a Jury Member for the Sheffield Doc/Fest Innovation Award 2012, twice a Juror for the CMF’s Experimental Fund.

Evan Jones
Founder, Stitch Media

Evan is the founder of Stitch Media, an interactive media production services company which tells stories using new technology and timeless techniques. A two-time Emmy Award winner, Evan’s work combines television, radio, web, mobile, games & the real world and were recognized in the ‘Top 10 New Media Groundbreakers’ by the Bell Fund. Stitch Media projects range from interactive documentary to branded entertainment. Evan has guest lectured on the art & business of interactive story internationally at the Canadian Film Centre, the Australian Film, Television & Radio School and the University of Southern California. International clients include Microsoft, Disney, FOX, Discovery, CBC, Bell & The Movie Network.

Andy Merkin
Head of Special Projects and Transmedia, Mirada Studios

Andy Merkin is the Head of Special Projects and Transmedia at Mirada Studios. Overseeing cross-platform and nontraditional storytelling projects, Andy develops narrative for traditional and digital media and production management for the complete pipeline. Since joining Mirada in 2011, his production credits include the interactive music video, Ro.me; the THINK exhibit and mobile apps for IBM’s Centennial, the departmentofhumanmanagement.org site for The Strain trilogy, andMirrorWorld by Cornelia Funke on iOS. A true believer that interesting storytellers (hopefully) have led interesting lives, Andy’s previous work experience includes development and production for Sony Pictures Television, training teachers and entrepreneurs in the Peace Corps in Bangladesh, performing improv, and educating students in zoo keeping for Busch Gardens.

Netflix’ Arrested Development & The Future of Storytelling

As we countdown to Arrested Development’s launch day, May 26, I’m riveted by the potential impact of Netflix’s all-in-one season on the future of storytelling. Key is creator Mitch Hurwitz’s decision to construct the episodes as what one could call, following the experimentations of hypertext and database narratives, a recombinatory narrative system, but with a difference. As Willa Paskin notes in her feature in Wired on March 19th, 2013: “It’s something new—a collection of episodes released altogether that can be remixed and recombined and that gain something from each juxtaposition… Each episode will cover events from a different character’s point of view, like a comedic Rashomon. There will be moments and Easter eggs that will make sense only in retrospect. There will be a suggested viewing sequence, but it will be possible—even rewarding—to watch out of sequence.”

The more I think about the experimental possibilities of what Sara Thacher calls “‘Web-Native’ TV,” the richer future I see as, while the concept at play may be new for television, this model of spatial, fragmented and shifting narrative is well-established in other media, meaning there is a wealth of knowledge that can be drawn upon for this kind of experimentation. Netflix is now mainstreaming what has existed in film and literature for decades as postmodern subversive play with fragmentation, point of view, narrative in/coherence, and the spatial, distributed, and associative design that underlies much interactive/experimental cinema, and interactive documentaries – iDocs – in particular. What we’re seeing is content design responding to platform and to audience – what Paskin describes as ‘television built be binged’ based on Netflix’s knowledge of audience viewing behaviour Where Hurwitz earlier toyed with the idea of using a ‘choose-your-own-adventure’ model, the exiting recombinatory model creates a new challenge for the audience as the order of episodes you choose will impact on how you view and empathize with characters through given sequences. It’s this effect that has me jumping up and down inside! Portia de Rossi (Lindsay Bluth Fünke) describes how “I did a scene with Jessica [Walter, who plays Lindsay’s mother], where she seemed to be saying the nastiest things, in my mind, because it was so sarcastic…But in her episode, you realize that she was being sincere. If you see my episode first, u’re like, ‘That fucking bitch.’ But if you see hers first, I look completely heartless.” (Paskin, Wired). What I love about this is the dilemma I am now consciously aware of – which episode will I watch first? How will my construction of a linear viewing sequence impact my understanding of the whole? What are the other variables between different POV episodes? This really is a delicious dilemma as once I’ve chosen I can’t go back & recover my narrative innocence – return to a state of ‘unknown unknowns.’ (Ah…the shadow of Rumsfeld…) Once I watch one, the rubic’s cube of known unknowns will start to take shape as the story map of scenes and interactions is revealed. In the meantime, Arrested Development Season Four looks like it will offer one of the best forms of interactivity, which I started writing about in the context of interactive narrative design watching Nolan’s Memento.Though screened as a linear-viewing experience, the complications of the interwoven time-lines and unstable status of the narrative threads made for a cognitive interaction that was extremely active, as I worked to align and realign story threads & my understanding of character status. Think Barthes’ active engagement with the writerly text now derailing TV’s more often passive medium with Netflix’ disruption of TV’s traditional serial/sequential viewing. With Arrested Development, I’m going to bet that Hurwitz has crafted a viewing experience that will drive fans back for multiple repeat views, binge viewing continued in excess over time with the aim of mentally constructing and reconstructing the narrative whole. I often find that at the end of power viewing a series over a weekend that I’ve lost track of details in the first episodes & I want to rewatch in order to recover narrative coherence. Here too, no doubt, Netflix’s data analytics can provide insights on viewer habits of rewatching fave content in Netflix’s flat fee context. That audience loyalty is about to get rewarded as layers of AD narrative complexity will be presumably revealed in multiple viewings. Let the agonizing hilarity begin. Alyssa Rosenberg also has an excellent post on “Why ‘Arrested Development Really Represents a Breakthrough for Netflix” And Randy Finch has one here: ‘Will Arrested Development on Netflix Make Storytelling News?