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The "tools" of storytelling will change,

in the future Storytelling will not change

The "tools" of storytelling will change

Merging SEGA technology and BBC Earth content, the new attraction takes visitors on a multi-sensory journey to explore animals and nature through sight, smell, touch and sound.

The venue includes one of Japan’s largest screens (131 ft W x 26 ft H) with remarkable visual and sonic resolution and 12 separate walk-through entertainment zones

evolve into large-scale public attractions becoming urban theme parks, where cinema is only part of the experience

The technology has changed but the basics of the job haven’t. It is still about storytelling, about juxtaposing images, about creating a feeling with images and music. Only the technical details have changed

I think there will be movie thea­ters in 1,000 years. People want the group experience, the sense of going out and participating in a film together

I think it will be standard in 4 years, not 40. We will have a glasses-free technology in five years at home and three years for laptops. The limiting factor is going to be content. You can’t rely on a few films a year for this. It is going to have to be 3-D broadcast sports, scripted television, non-scripted television and reality television

Still, most parenting wisdom continues to portray television as an evil mind-rotting demon. The fear of ‘screen time’ is so deeply ingrained in our collective imagination that an irrational opposition between outdoor play and media consumption is taken for granted. Many parents believe the choice is either/or: indoors or out.

most storytelling is interactive. We consume most of our media through internet connected devices. And technology is so adept at providing ‘adaptive feedback’ that it proves to be an exceptionally effective teaching tool. In fact, a recent SRI study shows that game based learning can boost cognitive learning for students sitting on the median by 12%.

Joint media engagement refers to spontaneous and designed experiences of people using media together, and can happen anywhere and at any time when there are multiple people interacting together with digital and traditional media.

Immersive journalism is an emerging genre in which sound, video, and reporting are melded together and presented with virtual reality technology to put the consumer in the scene, usually experiencing it from the point of view of the participants.

The larger concept is the cultivation of empathy, using the information—sight, sounds—point-of-view—to cause the user to see things he or she wouldn’t have seen otherwise.

It isn’t unreasonable to suggest that the way stories are told and received may fundamentally change in the next twenty to thirty years.  There are many ways to tell stories and to engage an audience.  Immersive journalism places emphasis on engagement through perspective, placing the user inside of the experience.

The team used 140,000 horror stories from the subreddit r/nosleep to teach the AI how to tell a horror story that a human would find intelligible, compelling and scary. Perhaps the most interesting aspect of Shelley, though, is her reliance on human interaction to facilitate her storytelling.

AI can write surprisingly scary and creative horror stories

a new generation of even more ambitious theaters — possibly even including cinema's first holodeck — is waiting in the wings.

The first Escape theaters — which will include the Cinemark 18 & XD at the Promenade at the Howard Hughes Center in Los Angeles — will open Sept. 19, showing a special edition of Fox's new young adult thriller The Maze Runner

Escape theaters showing The Maze Runner will project the live-action movie on to the center screen, and the side screens will feature additional visual effects

In 2007, Netflix changed the landscape by introducing streaming on PC, allowing customers to instantly watch shows. By 2010, Netflix video streaming became available on additional platforms, including iOS devices. Today, video streaming services Netflix and Hulu have a strong hold among combined iOS and Android Top US Apps.

These convenient apps have set the stage for a preferred entertainment delivery. A whole generation of consumers have grown up with video streaming, rather than (or in addition to) paying for cable television: cord cutters and cord nevers. Major premium cable networks, HBO and Showtime, are now after a piece of the pie Netflix and Hulu have carved out

Both HBO NOW and Showtime are taking different approaches to standalone streaming partnerships. HBO NOW has gotten more traction in part to a heavy promotion from Apple, resulting in positive metrics. Showtime’s success is less clear, being married into Hulu’s already strong performance

Unlike films made for the silver screen, an internet film doesn’t need to contain something for everyone

But the internet is different. As viewers are watching alone, films can be made exclusively for certain fanbases and still be confident of finding an audience.

in the eyes of a conservative family, the company should stand for wholesome entertainment, but to a 20-year-old city-dwelling college graduate, it should be more edgy. It’s unlikely these two demographics would go to the cinema together, while they almost certainly won’t be streaming the same content.

We can tell a story in 3 minutes. We can tell a story in 6 minutes. But that doesn’t rule out longer-form content -- Netflix is living proof of that

Nickelodeon UK’s launch of a website called Code-It that aims to teach programming skills to 6-12 year-olds.

While they will earn badges for their progress through the site’s set lessons, children will also be able to write their own programs animating the characters, and share them with their peers.

In May 2014, producer Aardman Animations launched Shaun’s Game Academy - a website challenging children to create and share their own games

The financial magazine has published its first ever list of top earners on the video platform, with the irrepressible Felix Kjellberg (better known as PewDiePie) heading the charts with pretax earnings of $12 million,

most of these individuals’ income comes from advertising such as sponsored videos and previews, although four of those on the list also have book deals, while a few even offer their own product lines.

By Obsessing Over the Present, Big Media has Forgotten its Past and Endangered its Future (But it’s Not Too Late)

When it comes to digital-era investments, Disney has certainly been the most active of the major media companies (though IP represents more than 80% of total outlays). Over the past decade, the House of Mouse has bought the largest YouTube Multi-Channel Network (Maker Studios), a mobile gaming company (Playdom), several multi-media storytelling platforms (Marvel, LucasArts, Pixar), become Vice’s largest outside shareholder, doubled down on technology-driven theme park experiences (MagicBand, VR), established an annual fan expo (D23), formed an accelerator program with TechStars (Disney Accelerator) and launched an ever-expanding sandbox video game at the cost of more than $125M (Disney Infinity)

For the past 20 years, television networks have reaped more than $1T inflation adjusted revenues and $300B in net cash flow thanks to what was sown throughout the 1980s and early 1990s (most cable networks took years to hit cumulative net profits, with several market leaders accumulating hundreds of millions in losses doing so). But the harvest is coming to an end. Crop rotation is not a waste; it’s an essential investment in forward productivity.