Monthly Archives: October 2015

租房的烦恼

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现在才稍微清醒一些。

前面特别困，租完房子出来的时候，很沮丧，思维混乱，一点儿也不开心。一种“莫名其妙”自己就租了一套公寓，我没有做好心理准备啊！！！好烦，不想要，不不是这样的……

总之，这件事上自己也算是处理的非常糟糕。从头说起吧！

想租房

大概是这学期开始，租房的需求越来越强烈。想租房的主要原因是：

寝室有时候比较吵，因为舍友们作息只要不同步，必然会有人打扰到其他人的休息；也有舍友在寝室看综艺节目、电视剧什么的外放声音，被迫听这些也烦的；还有舍友她们老爱不关门不带钥匙，因为我的床位靠门，只要睡午觉门开着，外面的噪音的放大好几倍，而且冬天也冷，每次敲门让我开门也很烦（而且她们还一副你的义务的样子，和她们交涉以后我不经常开门了）
其次就是宿舍晚上断网断电，有时活干不完就很麻烦（但是活动室可以刷夜也挺不错的），不过半夜洗澡也不方便，就算有热水也会吵到别人，还不能吹头发；
另外就是私人空间，在寝室打电话给家人吧，打扰到别人也不太好，有些话也不好意思说。
最后住寝室，洗澡堂卫生间条件也不太好，冬天去卫生间也挺不方便的。

归根结底还是寝室生活条件不太好。

但是寝室有哪些好处呢：

价格便宜，一年才1000元
地理位置好，在校内，离图书馆、食堂、教学楼都近
设备完善，有空调、暖气、洗衣机、阳台、桌椅，目前生活没问题

租房，房租

一直想出去租房，但始终停留在内心想法这个阶段。往往是偶尔舍友影响到睡觉的时候，向男票抱怨，就想出去租房。但租房本身是很麻烦的事情，而且自己没有资金，我知道父母肯定是不会同意我出去租房（不同意的情况下是不会给我钱的）。所以自己一直想等到自己有稳定收入的时候再出去租房。

上次有一天晚上计划第二天早上6:00起来去学车，就准备11:00睡觉。结果已经和舍友说我睡觉了的情况下，她们还是继续嬉闹的一会，心生委屈就发了说说

“雷勇老师说的很对，大学时代什么都好，就是缺钱。没钱出去租房子，没钱去北京找男盆友”

缺钱一直是自己的烦恼，高中做物理竞赛去杭州培训那次，就因为缺钱情绪崩溃哭了一个晚上。那次和父母吵架，担心他们不给我去杭州培训的钱，物理老师都提前和我说好，如果我父母不给钱，他把钱给我。高中印象特别深刻，我妈老爱拿钱威胁我，也整天给我灌输家里缺钱的观点。比如高三生物老师说我需要补习，但我只去补习了两三次就放弃了，因为每次拿钱我妈妈就一副心疼不已的样子，搞得我非常有罪恶感，最后也觉得自己家并不具备补习的经济能力就放弃了。高二的古筝课也是这样，一次课150，老妈老爱用钱来衡量，表达出一种“你看一次一个半小时150元，你也就学到一点东西，不值得”的观点，最后因为和老师谈价钱老师不再找我上课了。

没钱很烦，高中就下决定要尽快经济独立。喊了这么久的空口号，也就高三毕业的暑假去北京实习一个月，此外还办过一两次补习班，翻译拿过一次稿费，申请项目拿过一次经费。大学以后，并没有任何收入，那天晚上想起来非常生气，觉得自己怎么这么没用，不是早就说要经济独立了吗，为什么没有任何举动？为什么现在还花着家人、男朋友的钱？！

合租，来的太突然

那天晚上发完说说，实验室的几个姑娘看到了，就一拍即合建了一个租房微信群。

第一次学姐提议去万能青年旅社租房。我们过去住了一个晚上，标准间一个月2900（两人），床位一个月1100（一个人），青旅的环境还可以，但是我嫌它周边太吵（虽说中隐于市有文艺小资氛围），房租也不算便宜，而且我想租的是单人间。

那次去看房，其实做决定自己也用了一个下午，因为不确定租那儿好不好，就提出现住一个晚上再说的建议。我是一个做决定很慢的人。常常需要思前想后好久，想不清的时候就会犹豫不决。那天下午给男票打电话说看房情况的时候，就已经决定不租了，毕竟离自己想要的租房环境差的有点远。虽说，当天住了一个晚上觉得还蛮喜欢那里的环境。最后，我和她们说了自己的理由，就没租青旅的房子。

虽说这次没租青旅的房子，但还是有些收获的。就是对寝室的抵触低了一些，之前一直嚷嚷着要去租房，也没有行动，就更像是一种悲惨情况下的美好希望。这次真去看房，就觉得寝室还是可以住的，租房也没有想象中的那么好（比如两人住一间还是得不到想要的安静）

第二次，大家提到去瀚海星座租公寓。昨天下午我去那儿看了看，物业说要联系业主或者中介才可以看房。我并不着急，而且男票这两天回合肥，所以我并没有去网上找租房信息。

下午，学姐说去看房，已经联系好了，不错的话她就定下来。我说不行啊，得大家做决定啊。租房这种事情，无论如何还是要自己去看的。于是和男票赶去看，中介和业主也都在里面。

一室一厅61平方米1600一个月，不算贵吧。就是户型有些不合理，一个主卧一个厨房餐厅，一个卫生间。虽说房子很大，但没有晒衣服的地方，一米八大床让房间变得很拥挤。如果合租的话，依旧是没有单人间。总之和我想象中的房子还是很不一样的。犹豫不决，我也不知道要不要租这个房子。学姐是希望租的。但我没想好，总觉得租房应该好好看好好挑，也不着急，所以我想多看一些房子在决定。

大家都在，他们问我的意见，我也总不表态。一时间要我做决定也想不清楚。拖了一段时间后就开始看合同，他们都在说这个房子的好处。我说过两三次我还想看看其他小区的房子再决定，但后来他们一再问我就这个房子怎样的时候说过一次行吧。然后学姐给她妈妈打电话，我想着我要告诉我父母吗，他们肯定不同意啊。又花男票的钱？不太好的，太不好了！然后就更加犹豫起来，到最后已经不想租了。

就在我在房间里思考混乱犹豫不清的时候，学姐已经给再给业主和中介付钱了。我依旧是很困啊，我希望他们停下来，我没想清楚所以不想这么快做决定，不是说不租这个房子，但是不要这么快啊，可以到其他小区再看看….没办法，很快学姐把合同签了，钱付了。一切搞定大家散伙之后，才意识到似乎自己没在合同上签字，当然我也没有拿到合同。

做决定与做事风格

总之，这房子租的太草率了……似乎自己的态度没有得到充分的重视，学姐自己做决定，以及后面把手续什么都办的时候也没有问我。大概是两个人做事风格的不同吧。

她大概做事比较果断，而我总是比较谨慎。当然我觉得如果是合租，还是应该几个人充分交流后再一起做决定，至少合同上应该签两个人的名字。现在这样更像是她自己租了一套房。

写了这么多，头脑稍微清楚一点了。目前的情况，实在是觉得很抱歉，因为并不想因为这件事影响和学姐的相处。我也不知道自己还要不要和学姐合租，前面离开的路上终于还是表达出了自己并没有想清楚要不要租房。

目前的租房情况有什么不好的呢？

没告诉父母，就算告诉了估计他们也不同意。花男朋友的钱很不好！三个月的房租是2400+320=2720
没有我想象中的单人间。
感觉刚刚租的公寓，需要花很多时间去改造（感觉那个户型很麻烦）。卫生等等都要巨麻烦的清理，购买家具等，需要投入的时间和经历自己没做好心理准备

当然也有好处

不再断网断电断热水
可以和学姐一起合租

下一步怎么做呢？是把钥匙还给学姐，还是把一半房租给学姐？一方面觉得是被做决定了，另一方面觉得退出不太好。与此同时，自己还需要出去租房吗？还是从此打消租房的念头。

感觉分析到最后的结果，租新房子需要投入的时间精力金钱，自己都没有做好准备。

Principles of Transmedia Storytelling

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好久没写博客了，这是“科技传播系-媒介概论”课，第一次作业的论文。我花了两天看 Henry Jenkins 的博客，然后提炼[到处复制粘贴]的论文。因为反正自己又没做什么研究，也没什么新的东西，中文的论文搜索结果乱七八糟的。这里有对应的论文演示PPT。

Principles of Transmedia Storytelling

Jingning Zhang

Abstract

Henry Jenkins, who is the Provost’s Professor at USC, before which was the Director of the MIT Comparative Media Studies Program and the Peter de Florez Professor of Humanities. This paper elaborates the definition and summarizes seven principles of transmedia storytelling proposed by Henry Jenkins and discusses implications of the principles on the entertainment industry.

Keywords

Transmedia Storytelling, Transmedia Extensions, Transmedia Entertainment, Media Franchises

1 Definition

Transmedia Storytelling is the technique of telling a single story or story experience across multiple platforms and formats including, but not limited to, games, books, events, cinema and television. The purpose is not only to reach a wider audience by expanding the target market pool, but to expand the narrative itself. [1]

As defined by Henry Jenkins, Transmedia storytelling represents a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience. Ideally, each medium makes its own unique contribution to the unfolding of the story. [2] The bold sentence is important for that it points out the difference with Cross-media, which is always the same single contribution to a story presented in multiple channels. [4] There should not be a single source where one can turn to gain all of the information needed to comprehend the whole story. [9]

2 Principles of Transmedia Storytelling

Henry Jenkins has proposed seven principles of transmedia storytelling [3].

2.1 Spreadability vs. Drillability

Spreadability referred to the capacity of the public to engage actively in the circulation of media content through social networks and in the process expand its economic value and cultural worth. [3] Jason Mittell proposed a counterveiling principle, what he called “drillability”, which “encourage a mode of forensic fandom that encourages viewers to dig deeper, probing beneath the surface to understand the complexity of a story and its telling. Such programs create magnets for engagement, drawing viewers into the storyworlds and urging them to drill down to discover more.” [6]

As Mittell suggests spreadability and drillability represent different dimensions of the experience. Spreadable media encourages horizontal ripples, accumulating eyeballs without necessarily encouraging more long-term engagement. Drillable media typically engage far fewer people, but occupy more of their time and energies in a vertical descent into a text’s complexities. [6]

2.2 Continuity vs. Multiplicity

“Continuity”, which in Henry Jenkin’s words, contributes to our appreciation of the “coherence” and “plausibility” of their fictional worlds and that many hardcore fans see this kind of “continuity” as the real payoff for their investment of time and energy. [3]

Multiplicity allows fans to take pleasure in alternative retellings, seeing the characters and events from fresh perspectives, which paves the way for us to think about fan fiction and other forms of grassroots expression as part of the same transmedia logic – unauthorized extensions of the “mother ship” which may nevertheless enhance fan engagement and expand our understanding of the original. [3]

For those franchises where there is a strong desire to police and preserve continuity, fan fiction can be experienced by producers as a threat, something which may disrupt the coherence of their unfolding story. Henry Jenkins emphasizes that there needs to be clear signaling of whether you are introducing multiplicity within the franchise, as well as consistency within any given “alternative” version of the central storyline. [3]

2.3 Immersion vs. Extractability

At the Studio Ghibli Museum outside of Tokyo, there’s a fascinating exhibition on the history of motion pictures. Hayao Miyazki makes the point that immersion– the ability of consumers to enter into fictional worlds – was the driving force behind the creation of the cinema and has fueled the development of many subsequent media. [4]

Henry Jenkins discovers another principle at play, which he named extractability, that we can buy massive models of key characters, props, and settings from Miyazki’s films, or we can buy props and costumes which can become resources for Cosplay in the gift shop. This need for extractable elements has dramatically shaped the development of anime and manga. [4]

Immersion and extractability refer to the perceived relationship between the transmedia fiction and our everyday experiences. [4] In immersion, the consumer enters into the world of the story, while in extractability, the fan takes aspects of the story away with them as resources they deploy in the spaces of their everyday life. [4]

2.4 WorldBuilding

Transmedia stories are based not on individual characters or specific plots but rather complex fictional worlds which can sustain multiple interrelated characters and their stories. This process of world-building encourages an encyclopedic impulse in both readers and writers. We are drawn to master what can be known about a world which always expands beyond our grasp. This is a very different pleasure than we associate with the closure found in most classically constructed narratives, where we expect to leave the theatre knowing everything that is required to make sense of a particular story. [9].

The concept of worldbuilding seems closely linked to the earlier principles of immersion and extractability since they both represent ways for consumers to engage more directly with the worlds represented in the narratives. Particularly world building can raise the desire of audiences to map and master as much as they can know about such universes, often through the production of charts, maps, and concordances. [4]

2.5 Seriality

In classic film studies, a serial creates meaningful and compelling story chunks and then disperses the full story across multiple installments. [4] A serial breaks down a story into chunks which are satisfying on their own but motivates us to come back for more. [8]

Transmedia storytelling can be think as a hyperbolic version of the serial, where the chunks of meaningful and engaging story information have been dispersed not simply across multiple segments within the same medium, but rather across multiple media systems. [4]

2.6 Subjectivity

There are three functions of transmedia extensions. First may focus on unexplored dimensions of the fictional world, second may broaden the timeline of the aired material and third may be show us the experiences and perspectives of secondary characters. These kinds of extensions tap into longstanding readers interest in comparing and contrasting multiple subjective experiences of the same fictional events. [4]

At heart, subjectivity refers to looking at the same events from multiple points of view. [8] Transmedia texts often rely on secondary characters because it is too costly to bring the primary actors over to work in lower yield media like mobisodes and webisodes. Yet, we have a lot to learn about how to turn this into a strength by exploiting the audience’s desire to see through more than one set of eyes. [4]

2.7 Performance

Performance refers to the possibility that the works made by fans become part of the transmedia narrative itself. [7] Henry Jenkins discusses performance in terms of a structure of cultural attractors and activators. The attractors draw the audience, the activators give them something to do. Hardcore fans were motivated to create their own contributions or even without those invitations. [4]

Indeed, the discussion at Futures of Entertainment this year shows that producers were engaging with these fans, supporting, “harvesting,” or shutting down their own creative contributions. Yet, a central theme running through the conference centered on how these fan productions and performances might feed back into the creation of the commercial transmedia franchise itself. [4]

Summary

This paper has gone through Henry Jenkins’ seven principles of Transmedia Storytelling. There is sure to be some overlap between these transmedia principles, while these principles themselves come from different perspectives.

Transmedia Storytelling is the technique of telling a single story or story experience across multiple platforms and formats. Ideally, each medium makes its own unique contribution to the unfolding of the story.

We should treat the definition and seven principles of Transmedia Storytelling as the Creator’s Guide to Transmedia.