CDM 337 | Course Introduction and Application Information - Department of Cinema and Digital Media

Course Name

Transmedia Storytelling

Code	Semester	Theory (hour/week)	Application/Lab (hour/week)	Local Credits	ECTS
CDM 337	Fall/Spring	3	0	3	5

Prerequisites

CDM 231 To succeed (To get a grade of at least DD)

Course Language

English

Course Type

Elective

Course Level

First Cycle

Mode of Delivery

face to face

Teaching Methods and Techniques of the Course

Discussion
Q&A
Lecture / Presentation

National Occupation Classification

-

Course Coordinator

-

Course Lecturer(s)

Arş.Gör.Dr. SEVDA KAYA KİTINUR

Assistant(s)

-

Course Objectives	Develop a perspective on telling stories across digital media. Develop skills in interacting with the user (narratee). To be able to relate communication technologies with narrative possibilities.
Learning Outcomes	The students who succeeded in this course; Explain the paradigmatic shift from traditional storytelling to storytelling across media Develop creative ideas using new forms offered by transmedia Use transmedia storytelling technologies Develop transmedia storytelling skills
Course Description	This course is based on the paradigmatic shift in storytelling. It starts out positioning storytelling in digital media as opposed to its more traditional forms. It then introduces cases, such as interactive narratives, of more participatory nature. Work by creative media writers and artists such as Lance Weiler will be studied. Students are expected to bring to the class samples of storytelling in digital media and analyze them in terms of the possibilities they offer. They will produce written work and finally a term project prepared for pitching at the end of semester.
Related Sustainable Development Goals

Course Category	Core Courses
	Major Area Courses
	Supportive Courses	X
	Media and Management Skills Courses
	Transferable Skill Courses

Week	Subjects	Related Preparation
1	Introduction
2	What is transmedia storytelling? Traditional vs. transmedia narratives	Phillips, Andrea. A Creator’s Guide to Transmedia Storytelling. 2012. “What is Transmedia Anyway?” Ch. 2, pp. 13–20; “Learn the basics of traditional storytelling” Ch. 6, pp. 55-68
3	Principles of Transmedia Storytelling	Jenkins, Transmedia Education: 7 Principles (2010)
4	Platforms and Media Convergence	Jenkins, Convergence Culture (2006, Ch.1)
5	Case Studies: Global Transmedia Examples
6	Narrative Design & Storytelling	Kelly McErlean, Interactive Narratives and Transmedia Storytelling Creating Immersive Stories Across New Media Platforms, Ch. 7.
7	Interactive Narratives	McErlean, Kelly. Interactive Narratives and Transmedia Storytelling: Creating Immersive Stories Across New Media Platforms. New York: Focal Press, Taylor & Francis, 2018.
8	Content Strategy & Industry Practices	Phillips, Andrea. A Creator's Guide to Transmedia Storytelling: How to Captivate and Engage Audiences Across Multiple Platforms.
9	Midterm Week – No Class
10	Fandom & Participatory Culture	Duffett, Mark. Understanding Fandom: An Introduction to the Study of Media Fan Culture. Bloomsbury Academic, 2013. “Introduction: What is Fandom?” pp. 1–20.
11	Branding and Cultural Icons	Daragh O’Reilly. “Cultural Brands/Branding Cultures.” Journal of Marketing Management, vol. 21, no. 5–6, 2005, pp. 573–588.
12	Crowdsourcing, Collaboration & ARG's	TBA
13	Critical and Ethical Perspectives in Transmedia Storytelling	Phillips, Andrea. “Critical Legal and Ethical Considerations.” A Creator’s Guide to Transmedia Storytelling: How to Captivate and Engage Audiences Across Multiple Platforms. New York: McGraw-Hill, 2012.
14	Project Presentations
15	Review of the semester
16	Final Exam Week

Course Notes/Textbooks

Phillips, Andrea. A Creator's Guide to Transmedia Storytelling: How to Captivate and Engage Audiences Across Multiple Platforms. New York: McGraw-Hill, 2012. ISBN: 978-0-07-179152-6.

McErlean, Kelly. Interactive Narratives and Transmedia Storytelling: Creating Immersive Stories Across New Media Platforms. New York: Focal Press, Taylor & Francis, 2018.

Suggested Readings/Materials

Duffett, Mark. Understanding Fandom: An Introduction to the Study of Media Fan Culture. Bloomsbury Academic, 2013.

Jenkins, Henry. Convergence Culture: Where Old and New Media Collide. New York: NYU Press, 2006.

Semester Activities	Number	Weigthing
Participation	1	10
Laboratory / Application
Field Work
Quizzes / Studio Critiques	1	15
Portfolio
Homework / Assignments	1	15
Presentation / Jury	1	35
Project	1	25
Seminar / Workshop
Oral Exams
Midterm
Final Exam
Total

Weighting of Semester Activities on the Final Grade	5	100
Weighting of End-of-Semester Activities on the Final Grade
Total

Semester Activities	Number	Duration (Hours)	Workload
Theoretical Course Hours (Including exam week: 16 x total hours)	16	3	48
Laboratory / Application Hours (Including exam week: '.16.' x total hours)	16		0
Study Hours Out of Class	14	2	28
Field Work			0
Quizzes / Studio Critiques	1	10	10
Portfolio			0
Homework / Assignments	1	19	19
Presentation / Jury	1	25	25
Project	1	20	20
Seminar / Workshop			0
Oral Exam			0
Midterms			0
Final Exam			0
		Total	150

#	Program Competencies/Outcomes	* Contribution Level
#	Program Competencies/Outcomes	1	2	3	4	5
1	To be able to have fundamental knowledge about narrative forms in cinema, digital and interactive media, and the foundational concepts relevant to these forms.	-	-	X	-	-
2	To be able to create narratives based on creative and critical thinking skills, by using the forms and tools of expression specific to cinema and digital media arts.	-	-	X	-	-
3	To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media.	-	-	-	-	-
4	To be able to perform skills such as scriptwriting, production planning, use of the camera, sound recording, lighting and editing, at the basic level necessary for pre-production, production and post-production phases of an audio-visual work; and to perform at least one of them at an advanced level.	-	-	-	-	-
5	To be able to discuss how meaning is made in cinema and digital media; how economy, politics and culture affect regimes of representation; and how processes of production, consumption, distribution and meaning-making shape narratives.	-	X	-	-	-
6	To be able to perform the special technical and aesthetic skills at the basic level necessary to create digital media narratives in the fields of interactive film, video installation, experimental cinema and virtual reality.	-	-	-	-	-
7	To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives.	-	-	-	-	-
8	To be able to participate in the production of a film or digital media artwork as a member or leader of a team, following the principles of work safety and norms of ethical behavior.	-	-	-	-	-
9	To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments.	-	-	-	-	-
10	To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media.	-	-	-	-	-
11	To be able to use a foreign language to communicate with colleagues and collect data in the field of cinema and digital media. ("European Language Portfolio Global Scale", Level B1).	-	-	-	-	-
12	To be able to use a second foreign language at the medium level.	-	-	-	-	-
13	To be able to connect the knowledge accumulated throughout human history to the field of expertise.	-	-	-	X	-