"Cross ... - what?" - Will not go back today asking if by "cross-media storytelling" or "cross-media" is mentioned. Finally, there is the term then but already a few years. Really, the concept is clearly contoured but still not: In Barcamps cross-media storytelling has recently been isolated from many neatly trans-media storytelling, other applies both as synonymous, others juggle afloat with delicate differences for hypermedia storytelling. Yes, what then?
One thing is certain: Out of all the nomenclature confusion exists conceptually for a cross-media indisputable core. It looks like this: There is content - in the form of writing, photography, graphics, sound and moving image as. There are different playout channels - from print and website about app updates, OnAir and podcast, up to Twitter and Facebook.
Tell the mashup media
The digital computer technology now makes it possible, at least in principle, to link all these content with each other and any crop mixes, each play channel accurately. In the web jargon that is then "mashen" content.
Basically, there are so innumerable options narrative. To grasp the concept of "cross-media storytelling" for the editorial practice clear, three of these options seem essential. For this, the following fictional examples of a cross-media working newspaper office:
1 Example: For "Van der Vaart returns to the HSV" there is a current written report including a video interview published on a website page. A content will be told within a Ausspielkanals (website) with different media modes (writing and moving image). That is multimedia storytelling.
2 Example: For "Van der Vaart returns to the HSV" there is in the current issue a verschriftliches newspaper interview. And on a site-page is identical in content to the interview on video. A table is repeated here in several different media Ausspielkanälen in each mode. That is multiple use.
3 Example: For "Van der Vaart returns to the HSV" there is a continuing coverage of several playout. The scenario looks like this: Van der Vaart arrives at the Hamburg airport. From there it is from the previous year a live video stream, embedded in a sheet page on the site. Parallel tweets from van der Vaart fans are integrated as Twitter Wall in this preliminary page. On this "three-component" website (preliminary plus live video plus Twitterwall) identified two following reports: In a press conference at noon, which can also be followed via live video stream on the site, and on the big exclusive interview with van der Vaart which appear in the next print edition. This is then cross-media storytelling in the strict sense.
Cross-media storytelling is so simple a cross-media storytelling. Micro-stories are linked by the media across chasms to macro-stories. Technically, it is important for each recorded point of contact - content and recipient-oriented - use the appropriate media modes respectively. Each completed micro-story can stand on its own, but also is always part of the plot of the broader macro story.
Dramatically, a cross-media macro story must neither necessarily linear (as in Example 3) was applied even necessarily be nonlinear, it is a free structurable text space. With one exception: Simple recycling is not a cross-media storytelling.
And what is the difference for transmedia storytelling? This remains a difficult question to answer. A clear juxtaposition of these concepts do not exist, this cutting abundant quantities. Basically, transmedia storytelling - be understood as synonymous - in the sense of the definition of the term creator Henry Jenkins. At the same time, it seems quite as the non-linear variation of the cross-media storytelling, in any case where the trans-media manifesto, written at the Frankfurt Book Fair 2011, is assumed to be valid. It states:
The experiencer no longer follows one dramatic thread but chooses among several intersecting storylines Which merge into a single story-universe.
Either way, journalistic storytelling is in the mashup media extremely flexible, extremely varied - and at all levels much more complex, in the forms, in planning, in the production processes in the art. The classic forms of representation - of the message to reportage - are embedded into a universe of new possibilities narrative, multimedia storytelling is the basic condition for cross-media. The editorial planning is faced with new requirements and must specify, for example, early mediation competently topics for which an increase in expenses is justified. The technique must turn all thought possible actually quite possible and requires appropriate CMS. And then of course it needs more people who understand all this and are able to afford.
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