Funding

With the popularity of transmedia storytelling and digital media increasing, many new media projects are almost expected to be proposed to funding bodies with an additional transmedia/digital element to them. The growing expectation of the inclusion of some sort of transmedia/digital media aspect raises the interesting question of the amount of funding being allocated to these problems. It also brings up questions of how viable it is to create large scale transmedia storytelling projects which may require large scale multimedia in terms of the cost.

CEO of Jonathan M Shiff productions, Jonathan Shiff made reference in an interview (link to interview) to the incredible cost of producing large-scale multimedia productions. He was quoted as saying, ‘insert quote here’ during a vodcasted interview.

Film Victoria, the states official governing and funding body for film and media projects has an elaborate set of guidelines and application process for those wishing to gain funding for digital media projects (like games/multimedia series.) Much of the digital media and multimedia content produced for Australian children’s audiences incorporates digital media in some way (click here for discussion with Jonathan Shiff) ‘Kahootz’ (link to case study) is a good example of a multimedia project designed for children which had to go through a process of funding application before it could be created (link to proposal from Kahootz)

In their program explanation of ‘digital media protoyping’ (link to PDF document) Film Victoria declares, ‘our digital media funding programs recognise that the interactive entertainment industry now comprises complex development platforms.’ They suggest that the development of the new ‘digital media’ department (which encompasses both scoping and prototyping) is reflective of the growing digital media industry in Australia and the need to support ‘digital media producers.’

Within the Film Victoria program description there is an emphasis of the role of transmedia storytelling in proposals and projects,

‘The priority for the Digital media prototyping program is to support the development of digital media content and preference will be given to projects directed toward storytelling or cultural outcomes in contrast to projects that are database driven assembling of links and information that might constitute excellent web property but fail to satisfy the story-telling and cultural criteria of a film industry agency.’

The growth of digital production in the Australian film and television industry has been marked by this emphasis on narrative and storyline. The popularity of digital and transmedia projects also raises the question of the financial viability (link to discussion/interview) of these projects. Most importantly the recognition of digital media (with storytelling elements through it) in the Australian film industry by Film Victoria demonstrates how the expectations of audiences are changing. Further it demonstrates how the expectations of large film bodies in Australia are encouraging filmmakers (including makers of children’s television) to incorporate transmedia storylines and digital media into their productions. (link to interviews with J.Shiif and possibly Film Vic.)