This document discusses how transmedia storytelling represents a process of dispersing integral story elements across multiple channels to create a unified entertainment experience. It provides examples of how Brazil has embraced transmedia through mixed media projects, focusing on cross-cultural understanding. The document argues that in the modern media landscape, content is participatory, remixable, and spreadable on a global scale.

1. How Content Gains Meaning and Value in the Era
of Spreadable Media
Henry Jenkins, USC

3. Content is Transmedia

5. Transmedia storytelling
represents a process where
integral elements of a fiction get
dispersed systematically across
multiple delivery channels for
the purpose of creating a unified
and coordinated entertainment
experience. Ideally, each medium
makes it own unique
contribution to the unfolding of
the story.

6. ADAPTATION EXTENSION

8. STORY

9. WORLD

10. CHARACTER

14. Four Primary Functions of Transmedia:
1. Explore the world

15. 3. Flesh Out Secondary Characters

16. 2. Extend the Timeline

17. 4. Extend opportunities for audience engagement

18. The Problem of Engagement

22. State of Rio Funding:
• “audiovisual projects in which content is developed, complementary, in
multiple media, in order to explore and maximize the potential and
characteristics of each one of them”
• “spreading, stimulate and strengthen the culture of our state.”

23. • For the past five years, Brazil has been among the top five countries of the
world, often ranking ahead of the United States, Japan, and other extremely
developed countries, in terms of the amount of time the average user spends
online.
• Brazil and India have been neck and neck in terms of social media usage, first
on Orkut and now also on Facebook.
• Over the past few years, Brazil has shown the greatest growth among the
world’s leading economies in terms of its consumption of media and
entertainment products.
• The Brazilian market for computer and mobile games is expected to grow at a
rate of 7.7 percent per year through 2015.
• Online video consumption in Brazil underwent an amazing increase of 74%
between December 2010 and December 2011.

29. Brazil – Hybrid Model
• Mixed Media, Music, Telenovela
• Documentary, Advertising
• Logic of Entertainment Education
• Focus on Cross-Cultural Understanding
• Rio Content Market Competition
• The Alchemists
• Public-Private Funding

30. Content is Participatory

33. Web 2.0 critique

37. *Special thanks to Raquel Recuero .

42. Content is Remixable

45. Content is Spreadable

51. "We are all susceptible to the pull of viral
ideas. Like mass hysteria. Or a tune that
gets into your head that you keep on
humming all day until you spread it to
someone else. Jokes. Urban legends.
Crackpot religions. Marxism. No matter how
smart we get, there is always this deep
irrational part that makes us potential hosts
for self-replicating information."
Neal Stephenson

52. Circulation
vs.
Distribution

55. Content is Global

61. performance play
networking
collective intelligence
multitasking
distributed cognition
appropriation
negotiation
judgment
simulation transmedia navigation

62. 4Cs

66. Fandom and Informal Learning

67. “Education either functions as an
instrument which is used to
facilitate integration of the younger
generation into the logic of the
present system and bring about
conformity or it becomes the
practice of freedom, the means by
which men and women deal
critically and creatively with reality
and discover how to participate in
the transformation of their world.”
― Paulo Freire, Pedagogy of the
Oppressed

68. “Play is the work of childhood” -- Jean Piaget

72. Key Features
•A network of networks –
context matters
•Transparency while still
respecting privacy
•Mentoring Matters --
Assessment of
participation as well as
expertise both as a
network and an individual
•Co-Learning …everyone
can share their
knowledge and build
upon each other --
REMIX
•Collections of challenges
by themes or a multi-
linear paths.
Discove Learn. Teach.