Transmedia narrative film and television

From the lecture of Lorenzo Vilches at the Third Congress of the Latin American Network of Audiovisual Narratives, INAV, held in March 2016 in the city of Bauru, SP, Brazil, we talked to him about the narrative in DTT.

By:
Jorge Luis Pacheco Orcasitas
Luis Fernando Gutierrez Cano
 

Transmedia narrative account history across multiple platforms (film, TV, web, mobile, etc.) and format (book, video game characters blogs, chats, forums, alternate reality game, etc.), which in theory should make different contributions to enrich the narrative and get a viewer / player / reader / player / fan, which is integrated into its own narrative world of the play where the key is to create a participatory audience.

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The above description with Rodriguez Terceño in his book Introduction to transmedia narrative, has allowed a substance change in the forms of production of contemporary media, from different branches, through parallel stories that develop in different media, which can provide more possibilities for different audiences / users through interactivity that allows the media ecosystem today.

Regarding this situation, the authors of this article had the opportunity to talk with Professor Lorenzo Vilches, who has been developing various studies from narratology, referring to narrative film and transmedia television that can be seen for some years in the contemporary media spectrum.

How has this transformation of the audiovisual narrative with the advent of the internet in contemporary society?
Lorenzo Vilches:
When he began the film was mainly images without narrative; many writers said it was a successive pass of incomprehensible images. Finally, they missed their narrative, they thought that the film had no further than that, so images, exhibition type to pass the time, show weird things and nothing else. Clearly, then many of these writers who wrote for the film, later changed their minds.

In the history of the narrative there is a successive dependence on technology, media, economic possibilities, etc. In that sense the transmedia has been able to expand because it has been a very mature technology type that allows narratives with many levels of experimentation. Now, in the case of more technology transmedia narrative, because it still has to create a narrative itself.

Meanwhile, what is being done?
Lorenzo Vilches:
What has always happened when new media, and tries to imitate the old; then in the case of transmedia many times or a film or a short film he mimics or imitates television, and between them they are doing a new thing is the web series.

The web series not only in fiction but also the documentary; and the web series lends itself to the narrative that includes much life experience of the authors, that is what I call self-reflexivity, that is, that the author, the narrator, who often is the creator of the that web series evidentemente- much of ego, serves to convey something that neither traditional television can convey that is a spirit, say, amateur, higher vivencialidad and very panoramic shapes, very general and this would be for me the most intense.

In the world of audiovisual media, there is some clarity of what the transmedia concept. You how to explain what exactly the transmedia concept?
Lorenzo Vilches:
Suppose I have written a book or a novel and it seems to me that this novel will not be distributed quickly. In bookstores then I look for ways for people to get to know this novel; as before, in a radio or television. Now there are possibilities that I, or someone else, for example, create a radio experience dialogues of the novel or the novel to be adapted for a fiction or build a video game entertainment.

The novel then undergoes a transformation, a mimesis always related to the novel but where they are incorporating new forms, new media and new narrative forms. That would be the transmedia, to say that a story is transformed into different media, new forms, new genres, new forms of storytelling.


In his lecture he talked about a metamorphosis or transformation in classical narrative internet before. How transmedia narrative structure of production is manifested in audiovisual media?
Lorenzo Vilches:
I think fundamentally, it has become both space and time and of course also the characters, which are the three elements of the narrative. In relation to space, there is greater freedom to incorporate unrealistic realistic mix spaces and spaces with imaginary spaces.

From the point of view of temporality, the possibility that it can build a story that ever go opening new frames or sub-frames and those subplots go charging interest for themselves, so that sometimes could if a subplot becomes an interesting branch. And that is the big difference with the new media, because the transmedia has a fairly direct relationship with users, that is, with people who write, participates, makes praise or censure or criticism through networks. From the point of view of the characters they are living more way related to the future of the world

P = You were talking about a much stronger evidence of what are the steps of time in the story, explain how the writers in audiovisual products transmedia play with the viewer?
Lorenzo Vilches:
Before the beginning of cinema when there was a flashback, they put a sign or creating a visual distortion for the public to understand this. Now the resort for the past time is quite normal. Sometimes to explain some reaction or some situation or to go to the origins of behavior or personality of the character; and that which was previously only level of information now has become an element of intrigue, say that turning back allows what we see, in the present tense, copper utmost importance.

P = How do you see from Spain transmedia experiences in Latin America?
Lorenzo Vilches:
I have the impression that in Latin America this has always happened in the field of cinema, especially in independent film, there is a greater sensitivity of social, historical, regional also type; ie identity is strongly felt not only by languages ​​spoken, or at least different nuances of language, a major discovery that own languages, etc.

Thing I would say in Europe, from what I know, Italy, France, Spain, above all, there is less sensitivity of a social nature and there is increased sensitivity to the human subject, by economic hardship, lack of commissions work or a demand for equality of women relative to men, etc.

In many countries we are in transition from analogue to digital TV. How to apply the concepts of transmedia storytelling to digital television in our countries, considering a public service television?
Lorenzo Vilches:
On television public service that is a big bet and I think a lot, I have formed with public television. It's been a couple of years I was talking a lot of transmedia and that such formats have the possibility to be also on television. It's not on television because you do not pay anyone because big investors advertising are still betting on more traditional production, large masses, therefore the transmedia is now in a situation as was the short film 30 ago, 20 or 10 years in the cinema.

Finally, where they will target the audiovisual media in a 5, 15 or 20 years, going to all this phenomenon?
Lorenzo Vilches:
Television has become a screen, that means that the diversity of screens increases availability also for users time and screens for the opportunity to tell anywhere, what is the problem ?, the problem is the dispersion narratives and especially the fact that, as in film, film turned out the light and do not want anyone talking and eating popcorn is behind; that is sacred as the church.

I think in the future what we call transmedia it might evolve into other types of environment, narratives and I think there will always be narrative because we like stories, we like them to tell us that story and we would like to tell those stories, but it is likely to have more conversational type elements, ie, shorter stories and lose a bit the look of suspense and maybe people are more interested in hearing the stories because they are well-told stories. The conversation today through networks is continuous, therefore, lack little so that later the narrative becomes a great conversation with more possibilities for people to count.

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