- Gebundene Ausgabe: 368 Seiten
- Verlag: Ww Norton & Co (18. März 2011)
- Sprache: Englisch
- ISBN-10: 0393076016
- ISBN-13: 978-0393076011
- Größe und/oder Gewicht: 15 x 3,3 x 21,8 cm
- Durchschnittliche Kundenbewertung: Schreiben Sie die erste Bewertung
- Amazon Bestseller-Rang: Nr. 558.983 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
The Art of Immersion: Entertainment in a Connected World (Englisch) Gebundene Ausgabe – 18. März 2011
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Starred Review. Wired contributing editor Rose takes a broad and deep look at how electronic media are changing storytelling, inviting an immersion that drills down beneath surface information and encourages a deeper level of emotional involvement. . . . Completely fascinating. "
Starred Review. Like Marshall McLuhan's groundbreaking 1964 book, Understanding Media, this engrossing study of how new media is reshaping the entertainment, advertising, and communication industries is an essential read for professionals in the fields of digital communications, marketing, and advertising, as well as for fans of gaming and pop culture. "
From Homer to Halo 3, from Scorsese to The Sims, the craft of story-telling has transformed utterly. Or has it? Frank Rose is one of the world's most insightful technology writers, and in this wonderful and important book he narrates a narrative about the new narrators who are gaming all the rules we learned way back in English 101. --Randall Rothenberg, Chief Digital Officer, Time Inc."
We can spy the future in Frank Rose's brilliant tour of the pyrotechnic collision between movies and games. This insightful, yet well researched, book convinced me that immersive experiences are rapidly becoming the main event in media, and has re-framed my ideas about both movies and games. Future-spotting doesn't get much better than this. --Kevin Kelly, author of What Technology Wants"
The definitive book on transmedia what it really is, where it came from and how it is changing our culture. A must read for anyone now in the business of telling stories, which almost certainly includes you whatever it is you do.--Matt Mason, author of The Pirate's Dilemma"
Frank Rose has written an important, engaging, and provocative book, asking us to consider the changes the Internet has wrought with regard to narrative as we have known it, and making it impossible to ever watch a movie or a TV show in quite the same way.--Peter Biskind, author of Down and Dirty Pictures and Star
Himself a master of good old-fashioned narrative, Frank Rose has given us the definitive guide to the complex, exciting and sometimes scary future of storytelling.--Steven Levy, author of Hackers
The definitive book on transmedia--what it really is, where it came from and how it is changing our culture. A must read for anyone now in the business of telling stories, which almost certainly includes you--whatever it is you do.--Matt Mason, author of The Pirate's Dilemma
Über den Autor und weitere Mitwirkende
As a contributing editor at Wired, Frank Rose has covered everything from Sony's enormous gamble on PlayStation 3 to the posthumous career of Philip K. Dick in Hollywood. His other books include the 1989 bestseller West of Eden, about the ouster of Steve Jobs from Apple, and The Agency, a saga of loyalty and betrayal in Hollywood.
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Yet for all of its contemporary pop culture references and social media anecdotes, The Art of Immersion feels quite dated. His thesis ("A new type of narrative is emerging--one that's sold through many media at once in a way that's non-linear, that's participatory and often gamelike, and that's designed above all to be immersive.") is obvious to even the most technologically un-savvy reader. Nearly everyone, from Topeka, Kansas to Tokyo, Japan has understood that intuitively (if not explicitly) for 10 years.
I enjoyed reading the first few chapters in which Rose discusses the transformation of media and the creation of increasingly immersive worlds through the advancement of the technology, content and delivery method of newer forms of media. Rose outlines a rough sketch from the invention of the printing press and moveable type to the advent of the motion picture to the seductive glow of the living room television to the immersive and participatory "deep media" of the Internet. Yet as I continued to read, I kept waiting for the book to "start".
Each new chapter felt like a slight regurgitation of the one before it; each felt like an introduction to the theme, yet the book never fully developed the theme. True to his subtile, Rose answered How the Digital Generation Is Remaking Hollywood, Madison Avenue, and the Way we Tell Stories. But each chapter begs the questions: WHY? What effect does this have on our culture? Are there any positive or negative consequences? What can we expect for the future of media? Etc. Rose's point that media has changed to be more immersive is obvious and could have been articulated clearly in an introduction. I hoped he would go deeper.
The Art of Immersion is interesting at points and offers its readers great tidbits about their favorite television shows, films, music, and websites. But it left this reader wanting more.
Rose first points out an idea of “deep media” early on in the book. Saying that it is “stories that are not just entertaining, but immersive, taking you deeper than an hour-long TV drama or a two-hour movie or a 30-second spot will permit” (Rose 13). This shows the change in media; how it went from an audience just watching to an audience that is involved. This is the soul of his main argument. This bond that media has created with its audience opens up a portal for a whole new form of advertising. There are many examples of this like, “The Dark Knight [being] preceded by Why So Serious?, an “alternate reality game” that played out over a 14-month period and engaged some 10 million people worldwide.” (Rose 13). Or Doctor Who, which was followed by a four-episode video game. However, the biggest of all is the merchandise. Take a minute to think about all the profit that media has made off of shirts, posters, memorabilia, etc. In fact, the profit is so large that the companies that produce the media have adapted a style of not addressing many copyrights, because what it is doing is advertising for them and spreading their brand. Rose actually states this, when talking about Japan, by saying, “Yet commercial publishers show no inclination to send out their copyright attorneys and shut the markets down. Instead they’ve learned to look the other way, because they know that the fervor these fan-created manga generate can only lead to increased sales for everyone.” (Rose 31). Although more sales can never be a bad outcome, can a company go to far with this? Rose dives into the idea of going too far with immersion through many examples. One of them being Mr. Payback. In this movie the audience was able to make choices based on popular vote. To say the least it failed miserably, and was made into a joke.
A big misconception with new media is that it is making us, as people, stupid. Rose addresses this idea when talking about Carr’s statement that new media “Swiss-cheeses our brain” by saying, “hyperlinks, and electronic media in general, do change the way we read and the way we think.” (Rose 63). He agrees that it may in fact change the way we think. However, that is all it does. He concludes this argument by revisiting the times when people were scared that books would make us stupid by mentioning, “This is why, when books threatened to make us stupid 2,400 years ago, we responded not by abandoning books but by redefining “stupid.” I suspect we’ll do the same with Google.” (Rose 63). All of this goes to show Rose’s stance on deep media. He believes it is a very powerful tool but can be taken too far, but is he correct in assuming this?
Personally, I believe the ideas in this book were very exciting and engaging, and would recommend this book to all. Rose’s ability to immerse the reader while talking about an audience being immersed was executed flawlessly. He creates a firm stance and provides a plethora of reasons and evidence to back up his arguments. Nonetheless, this does not mean his arguments cannot be taken with a grain of salt. Let us first dissect his first point that the deep media involves an audience to a vast extent, which creates a whole new form of advertising. I firmly believe that this argument is developed without a blemish. I believe this because I have lived it. I have bought shirts, poster, memorabilia of my favorite movies and TV shows, which turn me into a walking billboard promoting my interest. And at the source of this all is the Internet. Hearing about shows through the Internet, then streaming the shows online, only to purchase inventory through an online retailer. There is no avoiding the idea that the Internet is media’s perfect home. However, he does mention a few points in time where deep media has gone too far. To this I would say that these companies would never know if they did not try. How are they supposed to establish barriers of what and will not work without experimenting in society. His second argument which states that new media does not make people stupid is harder to dissect. He makes a very genuine point that it changes the way people think which can hardly be argued. Personally, I feel like Carr’s idea is ridiculous and I think that is how Rose saw it as well. He does a fantastic job of brining up the counter argument that Carr makes, but sort of puts it off. This style of writing stresses unimportance, which I feel was a perfect way to shut down the aforementioned argument.
I firmly believe that Rose did an utterly outstanding job with this piece of work. He brings attention to a subject that is widely used but not widely thought about. He discusses how the deep media and Internet combined forces to create a new, very powerful, advertising tool. He also discusses how this can be taken too far, but forgets to mention that we would not know what too far is without someone breaking these barriers. Finally, he addresses the fact that the new media is not making us stupid, and is just a more powerful second coming of books.