RELEASED JUST NOW… Watch Terry Gilliam’s new movie ONLY online… via Distrifyhttp://www.facebook.com/plugins/like.php?href=http%3A%2F%2Fwww.chrisjonesblog.com%2F2012%2F01%2Freleased-just-now-watch-terry-gilliams-new-movie-only-online%25e2%2580%25a6-via-distrify.html&layout=button_count&show_faces=false&width=75&action=like&colorscheme=light&height=27http://platform.twitter.com/widgets/tweet_button.1326407570.html#_=1328011501245&_version=2&count=horizontal&enableNewSizing=false&id=twitter-widget-0&lang=en&original_referer=http%3A%2F%2Fwww.chrisjonesblog.com%2F2012%2F01%2Freleased-just-now-watch-terry-gilliams-new-movie-only-online%E2%80%A6-via-distrify.html%23close%3D1&size=m&text=RELEASED%20JUST%20NOW%E2%80%A6%20Watch%20Terry%20Gilliam%E2%80%99s%20new%20movie%20ONLY%20online%E2%80%A6%20via%20Distrify&url=http%3A%2F%2Fwww.chrisjonesblog.com%2F2012%2F01%2Freleased-just-now-watch-terry-gilliams-new-movie-only-online%25e2%2580%25a6-via-distrify.html
Today is a big day for online distribution pioneers Distrify – film legend Terry Gilliam has made a short and he is releasing on their platform. By now, it should be live and selling.
You can rent and watch it right her, right now…
That’s one of the GREAT things about Distrify. You can put the player (aka YOUR shop window) anywhere on the web – blog, homepage, Facebook, fansite. It’s not just your site, but through affiliate marketing, you can attract people who have websites with large audiences. There is a reason why this film is on the Guardian website – they get an automatic cut of every penny generated via the affiliate marketing deal on offer.
Excerpt: “….Kickstarter-funded Sundance movies included the well-received documentaries “Ai Weiwei: Never Sorry” and “Me @ the Zoo.” Dramatic films included “Black Rock” as well as “My Best Day,” and “Mosquita y Mari.” More experimental efforts like “Abacus” and “Room 237″ (profiled here) were also Kickstarter projects.
Many of the so-called Kickstarter films were pretty far out there and were no threat for a theatrical release, but “Indie Game: The Movie,” a film about game developers, was optioned by producer Scott Rudin and HBO for development as a series…”
MUST READ! Mike Masnick & Michael Ho’s State of the Entertainment Industry Report: The Sky Is Rising | Techdirt.31 Jan
Henry Jenkins’ New Post: On Transmedia and Education: A Conversation With Robot Heart Stories’ Jen Begeal and Inanimate Alice’s Laura Fleming (Part Two)31 Jan
January 27, 2012
On Transmedia and Education: A Conversation With Robot Heart Stories’ Jen Begeal and Inanimate Alice’s Laura Fleming (Part Two)
Some transmedia properties are entirely top-down, deploying fairly conventional models of authorship, despite their deployment across multiple media platforms. Others include strong elements of participatory culture. How central is youth participation in the production and circulation of media to your visions for transmedia education?
Jen: Youth participation is very important In production and circulation as many Transmedia projects are aimed at young people, and the ones aimed at adults require that the adults have some prior knowledge of media which leads us back to teaching media literacy at a young age. Specific youth aimed projects, like Robot Heart Stories, require that the students create their own videos, write collaborative stories and construct and color their own paper robots (called “heart packs”) which were pdf downloads from the website. The theory behind transmedia education is that user generated content (i.e. created by the students themselves) should be at the core of these projects.
Laura: Story-driven user-generated content is a powerful piece of the transmedia experience and in my opinion is an essential consideration for any educational property. Technology tools allow for new forms of participation and learners inevitably seek out those opportunities. Even just the notion of creating transmedia experiences for specific groups or demographics is something we need to consider carefully. Learners themselves should be immersed in the creative process to ensure that they are not mere consumers of the experience.
What are the implications of teaching a generation not only how to read but also how to write across media?
Read the full post here: