As broadcasters look for new ways to engage audiences, mobile apps and digital content are becoming increasingly important
Creating compelling online games and digital apps for factual TV programmes is a different, and sometimes tougher, ball game than it is to create apps for a big entertainment programme such as Britain's Got Talent on ITV or Million Pound Drop on Channel 4.
When you are talking about providing more in-depth information to a history or factual show, adding a "digital dimension" can be relatively straightforward but, creating a game or some kind of interactive application can be more difficult to get right. The audiences for these kinds of factual programmes can also be quite a bit smaller than entertainment shows as well, which limits the investment scope.
But there are clear signs, with shows such as Pawn Stars on the History channel and Food Hospital on Channel 4, that app...
Creating compelling online games and digital apps for factual TV programmes is a different, and sometimes tougher, ball game than it is to create apps for a big entertainment programme such as Britain's Got Talent on ITV or Million Pound Drop on Channel 4.
When you are talking about providing more in-depth information to a history or factual show, adding a "digital dimension" can be relatively straightforward but, creating a game or some kind of interactive application can be more difficult to get right. The audiences for these kinds of factual programmes can also be quite a bit smaller than entertainment shows as well, which limits the investment scope.
But there are clear signs, with shows such as Pawn Stars on the History channel and Food Hospital on Channel 4, that app...
- 6/11/2012
- by Kate Bulkley
- The Guardian - Film News
Audiences now expect stories to be told in new ways across different platforms, but commissioners often fail to produce compelling 'transmedia' content
Storytelling has always been at the heart of the best media, be it a TV show, a documentary or a game, and there is no doubt that with the expanding choice of technology – from smart mobile phones and tablets to TV sets that have internet connections – we are seeing an ever–increasing convergence of storytelling on different platforms. But as this convergence develops, one of the key questions now confronting the media industry is this: who's in control of this explosion in creativity?
The answer might seem obvious. Surely, it's the commissioners who grant producers the chance to broadcast on their channels. Or maybe it's the producers and directors themselves with the ideas for the programmes or films that have the whip hand? Or perhaps it's the writers who ultimately have control?...
Storytelling has always been at the heart of the best media, be it a TV show, a documentary or a game, and there is no doubt that with the expanding choice of technology – from smart mobile phones and tablets to TV sets that have internet connections – we are seeing an ever–increasing convergence of storytelling on different platforms. But as this convergence develops, one of the key questions now confronting the media industry is this: who's in control of this explosion in creativity?
The answer might seem obvious. Surely, it's the commissioners who grant producers the chance to broadcast on their channels. Or maybe it's the producers and directors themselves with the ideas for the programmes or films that have the whip hand? Or perhaps it's the writers who ultimately have control?...
- 6/6/2011
- by Kate Bulkley
- The Guardian - Film News
British medical expert Robert Edwards has just won the Nobel Prize for medicine of 2010 for his pioneering of in vitro fertilization (IVF) techniques since the 1950s. Millions of lives--many of which begin identically--owe their existence to this man.
Eighty-five-year-old Edwards, together with his late colleague Patrick Steptoe, is largely responsible for the invention of extra-womb fertilization, where a human egg is implanted with sperm in the laboratory, before being implanted in the uterine lining where it would have naturally settled during normal fertilization. The invention earned the nickname "test tube babies," but this huge over-simplification doesn't reflect the astonishing advances Edwards and Steptoe made.
The Nobel Committee remarks how important the science is, because it impacts so many lives: not just the four million test-tube babies themselves born since the first--Louise Brown in July 1978--but the "large proportion of humanity including more than 10 percent of all couples worldwide who...
Eighty-five-year-old Edwards, together with his late colleague Patrick Steptoe, is largely responsible for the invention of extra-womb fertilization, where a human egg is implanted with sperm in the laboratory, before being implanted in the uterine lining where it would have naturally settled during normal fertilization. The invention earned the nickname "test tube babies," but this huge over-simplification doesn't reflect the astonishing advances Edwards and Steptoe made.
The Nobel Committee remarks how important the science is, because it impacts so many lives: not just the four million test-tube babies themselves born since the first--Louise Brown in July 1978--but the "large proportion of humanity including more than 10 percent of all couples worldwide who...
- 10/4/2010
- by Kit Eaton
- Fast Company
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