Det fantastiske er er at den gode historie udvikler sig og bliver fortalt på mange platforme og udtryk til fordel for både "det brede" "det smalle" "det kunstneriske" "det billige"......
Jeg syntes det er svært at vi skal igennem en ultra romantisk ide om at film er hvad det er og det skal museums bevares i så høj grad at vi ikke har et bevillings system som kan gå ind i fremtidens historie fortælling. Måske er det ikke penge der gør forskellen, men accepten af at verden ændrer sig, grundgenet i den visuelle fortælling og fortællingen ændrer sig. Alene det faktum at vi ikke har TV stationer eller biografer om nogle få år kommer til at betyde at fortælleformaterne vil og har ændret sig drastisk. Det er jo ikke enten eller. Vi har en historisk mulighed for at gøre både og! Ikke male os op i et kulturelt introvert hjørne hvor vi er bange for at verden ændrer sig sådan som Danmark i forvejen har politisk tendens til. Her er lidt jeg har skrevet, i anden sammenhæng, på Engelsk dog. Please lad os begejstres!!
The world is changing it really is.
As a plethora of media/distribution platforms arises so changes the storytelling.
The old paradigms of “hollywood storytelling” has been pushed aside and now often only used as a vehicle, in the web of storytelling outputs, expanding consumption of the original story.
It has become of major importance to understand this structure, both artistically and certainly Commercially.
In these post financial crisis times, the storytelling industry shows no signs of slowing down,
and if we collectively, take all the platforms and do the numbers, the growth is staggering, and you will see that there is an important future for any economies that understands how to adapt and innovate/elevate the knowledge in the ever evolving storytelling landscape.
An example is the fact that the game market has by far surpassed the numbers of the cinema, without killing it, but instead often using the cinema to further their franchises by making movies based on the games for example. There is a really important exchange going on between cinema and game dramatics, the rise off long format series often distributed on streaming services watched in one go, children consuming fiction outside cinema and television has put new demands on the stories told.
That needs to be analysed and reflected upon in order to further our chance of getting its bite of this future economical foundation. Also to consider the nordic spin possibilities in an international competitive environment.
In the centre of it all is still the story though. That goes for all media, all platforms, fiction or fact.
The good story. But maybe the genes have changed.
It is important to focus on catching up on development and the measures needed to be taken to create a new creative institutionalised/funding and production approach towards how we support and develop the future of storytelling in order to adapt.
The focus in economically sound countries is a belief that the positive change in the new economy lies in the future off an ever-growing cultural mindset.
EU has finished studies that shows that the next adventure and economic adventure lies in culture, and especially in the multimedia market.
To be pretentious I should mention that some even claim that this structure could be the playground for developing Democracy to a new level but in this case its beside the point probably.
In the centre of this is storytelling. Without a good core story to be expanded on a multitude of platforms, a strategy for distribution on these, you won't get in on the adventure, neither as an artist nor as a country.
The method has changed, the considerations has changed, the preparations as you set out to tell your story has changed.
A franchise as Harry Potter forexample who from birth has a buildt in, well prepared, layered catolog of output possibilities, based on a spread of multiple coherent ideas, with a core storyline/universe based on coherency, strong synergies and interdependness stemming from the core is the basis for the game,the movie, the themepark………while knowing that in an interactive society fiction creates reality and thats for the good or the bad but still important to analyze and define the useable tools.
But also the more narrow artistic part of the business will have great possibilities and gain from this new structure. Streaming services, VOD, and other distribution methods will give a sound economic foundation even with a small audience.
These opportunities for a sound “artisitc” genre should be mapped as well!!
The commercial/marketing part of the business has to consider the potentials and are adjusting to the new platforms. The set formats for promoting merchandise, is no longer. 30 Seconds or 60 seconds commercials with a print in the newspaper. It can even be the book, the movie, the viral and several different formats to spread over the market and the multitude of devices that it’s possible to communicate with.
It is of vital importance that we in the future constantly evaluate the shape of things.
Because the world is changing it really is.
It has great importance artistically but even more it has a great economical importance to build the foundation for future industry with a great growth potential it is important to go to the core of the process defining the parameters of future storytelling. And when we have an understanding of these structures try to change the underlying structure which has to carry these conclusions to the users.
We should be interested in analyzing the consequences of this new landscape and by our conclusions become contributors in the future of the business. And thereby refine our artistic profile and economical prospect’s.
With the possibility of fusing the artistic and cultural importance with an obvious responsibility for economic redevelopment in a changing world.
With even more space for small artistic film language developing ecsperiments for the good of large commercial vehicles.
Film becomes part of the story instead of the definitive answer
