Use of Transmedia Storytelling Within The Context of Postmodern Advertisement PDF

See discussions, stats, and author profiles for this publication at: https://www.researchgate.
net/publication/329840438
Use-of-Transmedia-Storytelling-Within-the-Context-of-Postmodern-
Advertisement
Chapter · December 2018

DOI: 10.4018/978-1-5225-5357-1.ch018
CITATIONS READS
0 112
2 authors, including:
Mevlüt Dönmez
T.C. Süleyman Demirel Üniversitesi
4 PUBLICATIONS 0 CITATIONS
SEE PROFILE
Some of the authors of this publication are also working on these related projects:
Use of Transmedia Storytelling Within the Context of Postmodern Advertisement View project
Use of Transmedia Storytelling Within the Context of Postmodern Advertisement View project
All content following this page was uploaded by Mevlüt Dönmez on 21 December 2018.
The user has requested enhancement of the downloaded file.

350
Chapter 18
Use of Transmedia Storytelling
Within the Context of
Postmodern Advertisement
Nurhan Tosun
Marmara University, Turkey
Mevlut Donmez
Marmara University, Turkey
ABSTRACT
The consumer having high brand loyalty has been replaced with the consumer with low brand loyalty
who change ideas rapidly together with postmodernism. Thereby brands started to seek communication
methods which may attract care and interest of consumers and which will be able to maintain long-term
relationships with them. Postmodern advertising which is focused on brand has gained importance in
this point. Postmodern advertising approach utilizes hyperreality for taking interest of consumer and for
performing functions for creating plausibility and awareness. At this point, recently transmedia storytell-
ing takes attraction within framework of postmodern advertising. Transmedia storytelling participates
to consumers actively and presents them a fictional hyperreality brand story universe where they can
direct process by participating actively. Consumers can direct process by participating to communication
process and may create their own reality. Thereby they maintain long-term interaction and communica-
tion media between consumers and brand.
INTRODUCTION
Significant change is experienced in consumer trends within framework of postmodern understanding.

Consumers navigate within different media organs rapidly. They react communication processes rap-
idly. Basically most important change is experienced in communication between consumer and brand.
Consumers evolved from passive individuals who receive in communication to active individuals who
participate to communication process. This new consumer does not decide after being subjected to ad-
vertising messages. It brings brands which she/he can make contribution to the top of list. Consumers can
DOI: 10.4018/978-1-5225-5357-1.ch018
Copyright © 2019, IGI Global. Copying or distributing in print or electronic forms without written permission of IGI Global is prohibited.

Use of Transmedia Storytelling Within the Context of Postmodern Advertisement
make rapid and instant transitions between medias and also they may change decisions between brands
rapidly. Former loyal consumer was replaced with consumer which requires more effort for keeping in
customer portfolio. Even consumer itself requests this effort. Postmodern consumer of recent day tries
to make contribution to communication processes of brands, to announce its contribution to environment
and to have symbolic meanings which are transferred by brand. Brands started to evaluate new courses
where they can establish communication continuously for keeping this consumer whose loyalty was re-
duced. Particularly improvements in internet technology presents new media channels, social networks
and long term communication opportunities with consumer for advertisers. One of these opportunities
is transmedia storytelling which takes attraction of advertisement practitioners and academic people in
recent time. Basically we can determine this concept as to establish a fictional brand story universe by
participation of consumers. Transmedia story telling acts as tool for formation of emotional links between
brand and consumers by means of interaction, interactivity and long term communication.
While telling based on straight fictionalizing is adopted in modern advertising, certain event series
is not adopted in postmodern advertising. Performing ordering messages which consist of disconnected
parts by audiences is aimed. In other words entire story is created by audience in postmodern advertising.
Accordingly it can be said that postmodern advertising which does not straight expression understanding,
do not have absolute form and works as being image oriented by addressing emotion can utilize from
transmedia story which have aspect to support these properties.
Postmodern advertising presents virtual story universe for consumers due to its basic properties. This
virtual story universe meet expectations of consumers. In other words we think that there is synergic
interaction between post-modernist approach and transmedia story telling.
Transmedia expert Carlos Alberto Scolari (2009:599-600) mentions that brand is a fact which can
generate discourse, gives meaning for consumers and establishes communication with its fans. With this
respect we can say that author considers brand from symbolic perspective. Author also points out that
brand expresses a value. Interpretative agreement base is created between organizations and consum-
ers by means of this brand value. Starting from this point Scolari mentions that transmedia serves for
branding which have perspective for postmodern communication objectives. Author gives importance to
participation of consumer and says that “Brand presents a value word for people and consumer decides
whether she/he will be part of this world by him/herself”. Brand is not only within story by means of
transmedia storytelling. Also brand is the story. Transmedia serves for branding by utilizing from value
world which is provided by brands Consumers decide whether they will be part of this world by them-
selves. Consumers can navigate to Instagram page of relevant content while they are watching movie,
tv show or advertisement in their homes or cinemas and can share their ideas over Facebook. One of
most important factors which take attraction is that consumers participate to communication process of
relevant brand by their own discretion. In transmedia strategy Story universe expands in multiple media
platforms and invites audience for participation. Thereby connection based on confidence is created be-
tween brand consumers. Briefly consumers embrace story or brand. Thereby they enrich fiction with new
interpretations. However this case causes consumers to expect a continuous flow from brand. Therefore
people who have activity in marketing communication have to design relevant story as live building. This
structure grows by means of People who live in this building. People faces with layer of advertisement
campaign in any course in transmedia story. Followers can find new contents which they can explore in
other courses and intervene and participate them. Also new rooms, windows and mysteries can be added
to architecture of story by audiences. Briefly courses which are used in transmedia story goes beyond to
be only course. Courses integrate with content and deepens in hands of audience as being part of story.
351

OBJECTIVE OF STUDY
Basic objective of this study is to evaluate transmedia storytelling concept within framework of post-
modern advertisement. Present consumers develop behavior patterns in active and participating cultural
approaches. Reserving a pace in minds of these new consumers is increasingly getting harder. Now
consumers change their decisions rapidly between brands and their brand loyalty is low. It is not pos-
sible to direct interest of postmodern consumers and keep this interest continuous by advertising which
is given from course. Now consumers desire to make contribution to brand which they have purchased.
Thereby they make effort to take place in communication processes of these brand. Postmodern ad-
vertisement presents a virtual story universe where consumers can participate. This story universe is
realized at hyper reality level which allows generation of reality for many times. Brands become story
itself within framework virtual story universe. Consumer who desires to be involved in this process
by means of participative structure implements his/her objective by transmedia storytelling. With this
perspective it is assumed that there is synergy between transmedia storytelling and postmodernist ap-
proach which effect each other. Even it is considered that transmedia story telling concept is strategy of
postmodern advertising. Evaluation of contribution for communication between brand and consumers in
storytelling is aimed within study which is realized based on postmodern advertisement and transmedia
storytelling. Relation between transmedia storytelling and postmodern advertisements within scope of
literature were evaluated within scope of study. It can be observed in literature scanning that relation
between transmedia storytelling and postmodern advertisements were evaluated with limited manner.
Thereby it is considered that this study will have importance since it will determine relation between two
concepts. Particularly transmedia this study where transmedia storytelling applications are examined in
current communication conditions rise rapidly in advertisement area consists of three main parts. Firstly
transmedia story telling concept was examined and evolvement of concept was tried to be pointed out
by expert ideas. Then post modernism term and postmodern advertisement concepts were considered
and evaluation within context of literature was made. Relation between postmodern advertisement and
transmedia story telling were examined in third theme of study.
CONCEPT AND EVOLVEMENT OF TRANSMEDIA STORYTELLING
Stories which become notorious communicates events and patterns from past to present. Stories within
framework of postmodern understanding which give old with new fictions were carried to communica-
tion channels. In addition to this, stories reinforced communication between consumer and brands and
made them continuous. Curtain between virtual and real world disappears gradually. In addition to this
we can say that communication is reduced to moment. Stories present opportunity for brands for reaching
consumers who are hard to be captured in this change process. Recently transmedia story telling can be
considered as story telling of circumstances. With this context transmedial story presents many benefits
for brand service such as establishing long term communication, maintaining sales sustainability and
maintaining consumer interaction. Transmedia story telling concept and evolvement will be considered
within this section of this study and will be evaluated within scope of literature.
Transmedia storytelling started to take attraction of communicators and researchers within last quarter
century. Transmedia storytelling was firstly used by Professor Marsha Kinder from California University
under Transmedia Intertextuality title (Zimmermann, 2014, p. 20). Media academician Henry Jenkins used
352

Transmedia Story telling concept for defining the story. In his definition Jenkins combined traditional
storytelling with new media technology. Author which considers concept with new story perspective
took place in science world as inventor of this concept.
Stories allowed transfer of cultures, legends, rituals and heroism through generations. It continues to
have importance even in recent day (Buckner and Rutledge, 2011). Social experiences are built over story
in postmodern case. That is it a story which is established by social group based on living circumstances
and requirements. This story is adopted by a society and these people translates this story into social
reality they live (Firat and Shultz, 1997, p. 188). Mentions that basic objective of stories is to make hu-
man activities understandable and refers that stories form a framework based ideas and imagination of
people. In addition to this he adds that stories assist us to create realities again, and to provide them to
survive by being involved within them. According to him people are focused on listening good stories.
All of us we are listener, watcher and reader of stories in addition to being good story teller. Stories are
used for establishing emotional connection between people beyond entertaining, convincing people, to
explain a complex circumstance. Gerald Zaltman who has particularly pointed out importance of stories
in consumers’ life explains this importance as following:
Consumers tell story about themselves by means of stories. Certain story can change accordingly with
objectives of stipulators of moment and actor like a semi improvised theatre play. Decors and costumes
which are required by this theatre play are products and services which are desired to be purchased
by consumers. Stage consists of borders which are evaluated by society. Marketing managers who act
as agencies of societies supply décor and customs. They assist customers to generate memory and to
identify their identities. (Zaltman, 2014, p.258)
Starting from comments it will be correct to say that story telling is not only entertainment tool be-
tween consumers. Concept acts as communication strategy of brands. Starting from comments of Sanchez
and Zaltman it is argued in this study that firstly understanding of generating reality again within scope
of hyper reality will overlap with transmedia storytelling. In addition to this mentioning that stories are
parts which are fictionalized for communication will be correct understanding.
Sezen (2014, p.39) mentions that there is not change in main structure of study and effect over hu-
man’s life did not change. According to him Changing thing is not story rather channels where story
was communicated. Stories can be told over digital channels in addition to novels or traditional courses
together with development of internet and increase in new media channels. These channels have im-
portance since it includes participation and interaction of customers. Transmedia storytelling which we
consider within scope of this study includes both traditional media and digital media together. Besides it
has importance in brand communication as being a strategy which maintain participation of consumers.
Transmedia storytelling which has emerged as interactive use of more than one media channel has
been pointed out with similar identifications by many researchers. While Bechmann Pertersen (2006)
defines transmedia story as multiple platforms, Andrea Philips (2012) defines the term as “multime-
dia”. According to Bonumans (2014) story is communicated as intertextual goof and Marshall (2004)
defines as “transmedia worlds”. Petersen (2006) defines as multiple platforms, Jeffery –Poulter (2003)
defines as “mixed media”, Barzell Wu, Bardzell and Quagliaa defines as multimodality, Marshall (2004)
defines as transmedia worlds Klastrup and Tosca (2004) defines as transmedial interaction, Kress and
Van Leuwen (2001) defines transmedia story telling structure as intermedias.
353

When partial media structure of postmodern period is considered (Odabaşı, 2014, p. 162) we see
transmedia as story which brings multimedia environment together. Henry Jenkins who is inventor of
Transmedia storytelling term defines this terms as:
A transmedia story is opened in many media platform each new text makes specific and valuable contri-
bution to whole. Each environment does what it can do best in ideal form of transmedia story. (Jenkins,
2006, p. 97)
Scolari (2009, p. 587) defines transmedia story in briefly as “A certain story structure which expands
by means of different languages (oral, iconic etc.) and media (cinema, cartoon, television and video games.
Jung et al (2016) considers transmedia as an ecosystem within itself. Authors refer that content within story
has close relation with each other. Besides they point out that contents are not only translated from one
environment to other media environment but also story expands. In this process it can start as television
series. Story can be expanded with comics novel in addition to this internet series can be incorporated
in process and may end with novel or full length film. With this perspective we can evaluate transmedia
story as universe which extends by contribution of each tool. In this process all media organs which are
included in universe plays role of part making contribution to whole (Guerrero-Pico and Scolari, 2016,
p. 184). Transmedia storytelling is mostly mixed with conventional marketing communication strategies
where same content is presented to consumers by different medias. Transmedia does not mean present-
ing same content to consumers by distributing to different medias. Story which is told by caricature and
story which is told in cinema and television do not mean same thing. These contents make contribution
for formation of transmedia universe (Scolari, 2009, p. 587). Contents are distributed systematically
and with coordinated manner between platforms supporting each other in transmedia story. How media
contents form transmedia story structure can be seen in figure 1. Transmedia storytelling differs from
many popular marketing strategies such as product placement, adaptation from media platform to other.
Storytelling structure is established over three factor. These are Media Coordination, World-Building,
and Negative Capability. Media coordination aims to create universe which consists for characterizes
and stories which are connected with each other. For example star wars. Jenkins (2006) refers this “world
building which cannot be explored and consumed in single platform”. Negative capabilities are strategic
gaps which are left consciously by content products for providing consumers to explore story world (İlhan
et al. 2013, p. 529). Related visual about Transmedial Story Scheme can be accessed from the follow-
ing link:www.workbookproject.com/culturehacker/2010/07/07/transmedia-storytelling-getting-started/.
It can be said that Henry Jenkins gives importance for participating culture concept while explaining
transmedia storytelling. Participant explains culture as “It is a culture which fans and other consum-
ers are invited to create and spread new content effectively” (Jenkins, 2006, p. 331). Jenkins evaluates
postmodern consumers within this scope. He says that postmodern consumers are not passive individual
who receive this message and contents themselves with these messages. We think that are in active
structure. They want to learn universe where they were involved within movie or book they have read
with deepening manner. Even they want to make contribution to this process.
As it is mentioned by Jenkins Most important task of Transmedial story which is more than story
and should be evaluated as adaptation process (Möller, 2014, p. 31) is undertaken by consumers which
become part of creative process by generating customized forms of reality. (Pratten, 2011, p. 3). Regen-
eration of customized form reality which is mentioned here coincides with upper reality meaning which
is mentioned by Umberto Eco and Jean Baudrillard. Hyper reality is included within most important
354

concepts of postmodern period. Hyper reality concept is explained as image which has copy of image,
lifestyle and reality which copied in mind of consumer by development of technology and communica-
tion tools (Odabaşı, 2014, p. 45). Consumers in transmedia story see themselves as part of story within
created imaginary universe and embrace the story. Transmedia consumers see themselves as part of
participating culture and expect consumer reflexes within this culture. Postmodern consumers do not
content themselves by watching and have interaction with brand. They make comments accordingly
with interaction and determines direction of content by themselves. At this point wonder becomes the
locomotive of process. Wonder which becomes the belief of audiences are maintained by social media
applications, alternative reality games (Hazboun, 2014, p. 21). When we consider with consumer per-
spective, transmedia story telling requires only consumer participation will be incomplete. Besides story
telling requires motivation, interest and effort of consumers (İlhan et al. 2013, p. 529). Effort which is
expected from consumer has importance for expanding brand universe and making it meaningful. As
we mentioned before, one of most important elements of transmedia storytelling is to incorporate con-
sumers to process and that they make contribution for expanding universe. Basically, important thing
is not invitation of consumers to process but also they become part of process by their own discretion
and desire. Jenkins explain transmedial story based on convergence. Henry Jenkins consider (2006, p.
3) transmedial story within frame work of postmodern understanding where differences between media
and considers convergence as process rather than and point. Even though Convergence which is evalu-
ated as cultural change it will be more accurate to consider concept as combination or technology and
traditional (Bolin, 2017).
Jenkins (2006, pp. 2-18) Remarks change in consumers within context of convergence concept. With
this perspective modern consumers are evaluated as nomadic individuals who are active, having social
connection, open and whose loyalty levels are reduced. Author defines convergence definition as:
Behavior of nomadic media audiences which can go almost everywhere by seeking entertainment expe-
riences and cooperation between multiple media industry and content flow in many media platform”.
Jenkins exemplifies convergence concept as following: Computer industry converges with television
industry similarly automobile converges with horse, TV converges with cinema and writing system
converges with type writer.
Important changes occurred in media consumption and leisure time behaviors of postmodern con-
sumer together with opportunities which are brought by technology. Pratten (2011, p. 3) points out that
lives of consumers are surrounded by unique content, product and leisure time. Also they mention that
consumers generate their own stories by using new media tools such as smart phones, tablets and sail in
new communication ocean. Pamela Odih (2007, p. 145) also addressed leisure time concept and men-
tions that leisure time is a product of capitalist culture and specific production type of capitalist culture.
According to him leisure time is time object and equal statues are attributed for all products which are
produced in capitalist manufacturing system. On the other hand critical theoreticians remark the role of
advertising for generating leisure time as force again and making it commodity. Leisure time is colonized
by marketing approach according to them.
Consumers are encouraged to establish connection between popular media content and seeking new
information together with convergence. Besides they learn how communication practitioners distribute
content to different channels and thereby they reinforces connection with audiences while they are ex-
355

tending their market (Jenkins, 2006, p. 2). On the other hand consumers know how they will use new
media technologies, content flow and how they will control content flow and establish interaction with
other consumers. As a result it will be possible independent idea and content flow is created (Brieger
which communicates from Schank, 1999, 2013, p. 5).
Transmedial story considers technology as a tool which provides consumers to enter into created
universe. Thereby transmedia story telling should be considered as only digital communication strategy
(Falzon, 2012, p. 926) and should not be overlapped with net course class. With this approach Guerrero
Pico and Scolari (2016, p. 186) does not consider the term as application which only coincides with
modern communication technologies. Jenkisns who consider transmedia storytelling as fictionalized
universe (2006, p. 21) mentions that this consumers present a hunter collector society behavior reac-
tion for combining story parts in an interactive strategy. According to author consumers come together
for experiencing story parts in traditional and digital courses in collective work society. Follower act
by sharing information parts which they have found and by comparing them. With this perspective it
will not be incorrect to say that brands are formed based upon share and interaction request s of virtual
societies and fans which come together for brand.
Transmedia story telling includes multiple media environment, infinite and sustainable story universe
and most importantly audience participation according to this study. Multimedias within transmedial
story are not elements which are sufficient and meaning integrity. Each of them acts as parts of whole
which make cooperation with each other. Indispensable thing for storytelling is to generate content by
active incorporation of consumers into process. Transmedia storytelling can be evaluated within frame-
work recent postmodern approach and we can combine postmodern advertising with surrealism /hyper
reality. Thereby evaluating postmodern understanding and postmodern advertising approach which have
important place in recent communication and advertising strategies will be correct.
POST MODERNISM AND POST MODERN ADVERTISEMENT UNDERSTANDING
We see postmodernism as a concept which presents its influence in many areas from science to art,
architecture to advertising. Particularly effects in marketing and advertising area are important elements
for determining present advertising contents and strategies. Consumer structure which changes together
with post modernism are included within interest area of both advertisement practitioners and academic
people. Post modernism concept will be examined within scope of this section and innovations which
were brought within scope of advertisement will be considered and opinions regarding with postmodern
advertisement will be shared. It will be right to briefly mention about modernism which covers period
before post modernism before examining postmodern concept.
Modernism which we can consider together with enlightenment philosophy emerged as reaction against
living style and social patterns of medieval time. Positivism which embraces new world perspective
includes principles of positivism, rationalism, and autonomy of human and universality of information
(Yıldırım, 2009, p. 381). Foucault defines modernity as an approach which seas present day as differ-
ent from yesterday. According to Baudelaire modernity is not related with time unit within history. It
is thinking and feeling style which has appeared as result of relation which they have established with
current reality. This style also consciously includes to be belong to this emotion and thinking and to act
accordingly with its objective (Rigel et all, 2005, p. 95).
356

Postmodern understanding started to be present its influence over architecture and literature in 1940s
and 1950s. Concept was used to illustrate works after post modernism period or contrary with post
modernism in cultural areas together with 1960s and 1970s (Best and Kellner, 1998, p. 24). Who has
considered post modernism as social structure (2007, pp. 3-4), Mentioned that this structure which has
created its own modern organization will be explained within framework of radical change and frac-
tion. However Baudrillard and Lyotard considered this change as movement towards postindustrial area.
Fredric Jameson (1984) was involuntary for confining postmodern concept into certain period. However
he defines third biggest stage of capitalism of which concept became mature after Second World War
as late capitalism. Baudrillard (1983) considers post modernism as a structure which produces from
existing one. Also he mentions that information and technology plays a central role in producer society
against and points out that difference with reality and simulation has disappeared. Lyotard (1984) men-
tions about postmodern society or postmodern periods which foresee transition to postmodern order.
According to him Meaning loss which is caused by post modernism. Because it brings new period and
meaning generation together with it. Several language games and localized universality are realized
while implementing this. Postmodern area indicates a mood or better mind case. According to Jameson
(1984) concept is a cultural dominance or logic.
Davit Harley defines post modernism as rejection of propositions which have de facto claim, accep-
tance of pluralism and fragmentation in language games or scientist societies, highlighting difference
and equality and finally accepting everything is temporary and tonelessly and cynically. In 1960s and
1970s Culture theoreticians started to discuss break away from modernism culture and emergence of
new post modern art forms. Irwing Howe and harry Levin considers post modernism as collapse of
enlightenment ideal and anti-intellectualism form and presented a negative view. According to Susan
Sontag, Leslie Fredler and Ihab Hassan, postmodern culture is a positive evolvement against repressive
aspects of modernism and modernity. For example Sontag greets post modernism as emergence of new
sensitivity which challenges rationalist need for content, meaning and order in culture and arts (Rigel
et all, 2005, p. 96).
Nothing is completely new according to post modernism. There is not universality in post modernism.
Concept was separated from modernism and has perspective of several social clusters, singular objects
(for example women, minority) instead of holistic perspective. Charles J. Fox and Hugh T. Miller men-
tions that post modernism presented division of atoms against holism, parts against whole, management
in place against centralism, centrifuge against gathering in center, non-proportional against proportional,
over pluralism against combining thrust force, relativity against universality, Heisenberg against New-
ton, (Oren and Rehana, 2014, p. 2). Baumann (1994) mentions that post modernism forms a fictional
social structure. Also he mentions that individuals of this new society are independent and build their
own reality. Despite individuals in modern society, individuals are not dictated and limited by society.
Postmodern case highlight differences instead of similarities. Post modernism is founded over dif-
ferences of values, cultures, traditions and life styles (Spicer, 2005, p. 671). Post modernism rejects all
kind of integrating generalizing approaches. Concepts is a riot movement against dominant expression
or meanings (Yıldırım, 2009, p. 388). Relativity of information, collapse of sole reality perception and
replacing with new interpretation can be seen as constituent of postmodern movement. Interpretation
of each individual in any case is most correct thing for him/herself. This case causes chaos and conflic-
tion. Confliction spreads to art, literature, science world briefly in every field of life. Process brings
to be separated into parts, removal of borders together with it. With theoretical point of view it can be
357

seen that upper story is destroyed in postmodern discourse and virtual reality is highlighted as earning
of consumption culture (Taran, 2017, p. 435).
Fırat and Venkatesh (1993) has evaluated postmodern culture according to five aspects. These are
hyper reality, fractioned structure, replacement of consumption and production, non-centrality, and
presence of oppositions together. Van raif included plurality which we can consider as acceptance of
differences (Firat and Shultz, 1997, p. 185).
Featherstone (2007, p. 11) says that we have important cultural change in recent years together with
post modernism and communicates that there is not certain meaning which was agreed over postmodern
word. Also he reports that post modernism draws attention of many artistic applications and social science
and human sciences since it clears up differences which appear in modern culture. He mentions those
changes as following (1) Changes in artistic, intellectual and academic areas (changes in theorization
models, presentation and distribution of works which cannot be separated from specific competition
changes (2) change which occur in generation, consumption and distribution of symbolic products which
may present power balance and class difference between societies and classes and which may be evalu-
ated in broader cultural area. (3) Changes in daily experience and application of different groups. We
think that there is collective cultural change process together with post modernism which support ideas
of Featherstone. All constituents of society and culture are influenced from process within this change
and evolved into postmodern understanding.
Marketing and advertising which indicates change everywhere where there is human and behavior
are included within areas which are influenced from social, cultural and economic changes which are
brought by post modernism. Pamela Orih (2007) suggests that post modernism started to influence ad-
vertising since symbolism had importance after 1920s. However Oric reports that early twentieth century
has mainly concentrated over product usage value. However Tosun (2007, p. 342) mentions that feeling
effect of post modernism over advertising started with 1990s.
Perceptions of consumers regarding with consumption objects changed together with postmodern
understanding. Advertisers who desire to utilize from power of advertisement should skillfully prepare
creative messages of life of postmodern consumers which define who they are, what they believe and
how they see the world (Domzal and Kernan, 1993, p. 8). Emotional approach shows itself rather than
informational approaches and they work heavily on image together with this perspective. Basically it can
be said that emotionality theme is in central place in postmodern advertisements. Common properties
of postmodern advertisement works which are communicated by different communication tools is to be
able to reach different target consumers by same advertisement messages. Rationality, absoluteness and
need for preparing different messages for different target groups are not included within framework of
postmodern advertisement understanding (Tosun, 2007, p. 342). Using more word rather than visuals
in advertisement, including rational contents instead of emotional content or using more serious mes-
sages, not giving importance to living dynamics of consumers or ignoring them create serious risk for
brands in postmodern environment (Domzal and Kernan, 1993, p. 8). Postmodern advertisement utilizes
from eclecticism for imitation, generating past again and generating influence of allusion between texts.
Creators of advertisements uses abilities of multiple environment materials for generating aesthetics of
commodities which keep image abilities of previous time brilliantly (Odih, 2007, p. 190).
Odabaşı (2014, p. 182) classified basic properties of postmodern advertisement into five aspects as
not having style, non-mental presentation, collapse of linear discourses, image oriented view, and femi-
nist perspective. Author which mentions that these properties cannot be apart mentions that postmodern
advertisements are created by symbolic content and there by mentioning about single style cannot be
358

mentioned. Funny, joker, crafty, words which spoil itself and glorious expressions can be seen in con-
tents of postmodern advertisements. With this respect it will be correct to say that great importance is
awarded in visuals of postmodern advertisements. Besides it can be observed that advertisements aim
emotions rather than mind and they establish their advertisement strategy within frame work of mystery,
pleasure and hot connections. For example can I insert this card into your heard in Muhabbet-chat card
and I add my love in food sector are examples of those. Man dominant contents of modern advertise-
ments changed with postmodern advertisements. Feminist elements are in foreground in present post-
modern advertisement contents. Woman is not individual who stays in home and cooks food. Beyond
this women is individual who both works and gives birth to child. Woman makes contribution to house-
hold economy and has career goals and it is a being which provides feeling of its power within society.
Basically new tasks were not attributed for only women in postmodern advertisement. In postmodern
communication understanding there are new roles for man which has the role of being father who is
responsible for maintaining economic earning of house. He can be seen in advertisement contents which
enter into kitchen, cooks food, helps his wife and prepares breakfast. Father figure which is shown in
advertisements of brand which produce desert and pie materials show example of this Father character
in advertisement wears apron in kitchen and cooks pie together with his daughter. Role of Father whose
task is to work outside and earn living of family has changed together with postmodern advertisement
contents. Now father helps his wife at home, and he is an individual who makes sharing in child care
with his spouse (Tosun, 2007, p. 344). Briefly postmodern advertisement understanding attributes new
tasks to consumers and individuals in society. It challenges to known and non-changing realities. World
which is created in postmodern advertisement contents which were created for convincing consumers,
presented life are generally symbolic life. In other words there is telling in those advertisement types
which resemble reality but which are not exactly same with reality. Postmodern advertisements mostly
utilize from some factors for creating symbolic life in consumer mind and for creating this telling. These
factors are generally music, sound effects, and visual elements. Together with presentation of content
which is created within this context to consumers, target group desires reality to be as it is presented in
advertisements. As it is mentioned below there is imitation which is inspired from postmodern adver-
tisement messages. Here this imitation reflects reality itself. This reality maintains formation of radical
image for target groups. Basically it can be said that importance of postmodern understanding with
advertising perspective is formation of image.
Postmodern understanding agrees that consumers have their own reality and fragmented identities.
In this approach consumers generates symbols which they obtain from consumer and products again
and has both producer and consumer identity. We can say that relativity that is reality and meaning can
change according to person and case as result of this case. At this point postmodern advertising ap-
proach combines this approach with technologic opportunities and use within framework of top reality
(Odabaşı, 2014, p. 175). According hyper reality concept which is defined as reality more than reality
Meta appears as a bettor form than reality (Firat and Venkatesh, 1995, p. 251) and this reality is whether
imitation or not. This reality is a reality for indicators were placed instead of originals and it can be
reproduced for many times. Now there is new era. Name of this era is hyper reality area. It is impos-
sible to create imaginary thing from real data that is creating non real things from reality. Simulation
models will form the presented things (Rigel et all, 2005, pp. 213-216). Postmodern advertising present
visually and glorious world for consumers. Everything can turn into everything in hyper reality world
of postmodern advertising. Also everything is symbol, image and simulation (Odih, 2007: 189). With
this respect, importance is given for using metaphors which make calls which are specific for person or
359

in other words things which can be perceived as different by everyone in advertisement contents. Char-
acteristic properties of postmodern advertisement contents is that theme to be highlighted is not certain
and absolute and tries to address emotions of attention of target group and tried to be drawn based on
interpretations. Postmodern advertisements try to catch target group by touching their imaginations,
fantasies, experiences and emotions. Postmodern advertisements have common content for creating
image in target group and transferring those images into brand. Ability of creating different images in
different people by same messages is qualified as creative interpretation (Tosun, 2007, pp. 342-344).
Modern advertising includes symbolic meanings which allow symbolic telling and symbolic meanings
which will allow interpretation. Socio symbolic meaning which are used in this communication can be
considered as cultural practice. Now fetish for commodity is created by utilizing from meanings of ad-
vertising provided that product properties are considered. Thereby it is necessary to remind theme which
will provide generation of meaning. Besides ability of modern advertising to achieve success depends on
customer makes meanings consistent. Exact opposite for this case is that hyper reality and simularc world
do not have non changing references. Extraordinary time/space compression of postmodern era change
modernist cultural partition and separation of life into different value segments. While performing this
post modernism brings challenging against linearity which is considered as non-changing by modern
advertisement. It assumes that postmodern advertisement change identities of postmodern advertisement
symbols. Presence of short term existence of themes, objects and sounds and senses as requirement of
capitalist accumulation in postmodern advertisement symbols is new time evidence of subjectivity of
consumers is at center (Odih, 2007, p. 189). Image which is desired to be created by postmodern ad-
vertising is the image which is requested by consumers. In other words people loads image which are
deemed as proper by themselves. We think that basic difference between modern advertisements and
postmodern advertisements show themselves at this point. While formation single type of image which
is decided by advertiser or advertisement agency is aimed to be given, creation of different images for
same brand by target groups is possible by postmodern advertisements (Tosun, 2007, p. 342).
Baudrillard (1975) mentions that objective for use of products and services change in postmodern
consumption culture. Now purchased products are sign, symbol rather than being a meta which solves
problems of customers or providing benefit (Odih, 2007, p. 196). What can products do or what they
mean become important in evaluations (Odabaşı, 2014, p. 175). When it is considered with modern
perspective, products become symbolic code and distinguishing quality. According to Baudrillard an
object is not consumption object provided that their functional qualities as tool and commercial prop-
erties as product are not clarified. Thereby products are made independent as distinguishing marking
tool. With this perspective consumption is not an end it is cycle which is created and produced again.
Now consumption is beyond personal consumption action of individuals. It will be correct to say that
consumption is an action where symbolic meanings, social codes, political ideolofies and relations are
generated and reproduced.
Post-modernist perspectives mention that production never ends and it is continuous process. They
present that object, person and generally displayer and image and symbol are generated at every moment
of consumption. There is not certain essence of symbols and they can be manipulated by indicators system.
In this process consumers can be consumer of symbols and visuals due to ability of objects to represent
themselves. Producers produce symbols in this symbolic universe and consumers follow meanings and
experiences (Firat and Venkatesh, 1995, p. 251). Odabaşı (2014, p. 161) who evaluates consumer which
follow symbolic consumption, mentions that most important change in advertisement and marketing area
360

in postmodern period is to turning from product into mark. Now consumers purchase symbolic meaning
of a brand which can express themselves with best manner rather than functional benefit of a product.
Expectation of consumers for brands to participate communication processes have emerged within
scope of postmodern advertisement understanding. Besides interest of consumers with respect to stories
of brand they use and request for maintaining contribution to story process of brand provided that story-
telling concept to be in agenda of advertisement practitioners and academic people. Generally concept is
focused on use of multiple media and willful participation of consumers for forming a story pattern. This
story pattern is a fictional universe which allows consumers to produce again. Thereby we can evaluate
transmedia storytelling within scope of postmodern understanding. Transmedia story which is based on
flow between real and virtual caused started to play active role in communication strategies of brands.
USE OF TRANSMEDIA STORYTELLING WITHIN CONTEXT

OF POST MODERN ADVERTISEMENT
Present technological, economic and social evolvements provide reproduction of products and brands of
which technologic, economic and social developments are similar. Thereby this case caused consumers
to need to consume different meanings. Besides it makes necessary for brands to have strategies which
project present tendencies of these meanings. Postmodern advertisements which concentrate to use of
metaphors which may make recalls which are specific for people form backbone of this strategy many
times. Because consumers are requested to load valuable and important meanings to product where
message is highlighted in postmodern advertisement of which basic objective is creating image. This
case leads such advertisements to concentrate in visual elements which are more effective with respect
to audibility and text due to formation of images (Tosun, 2014, p. 532).
To create brand image and therefore brand loyalty is at focus point of organizations which desire to
keep and increase their market share. This case leads postmodern advertisement applications to have
increasingly more importance. Brands seek long term communication methods which include both
digital and traditional media together. Organizations get benefit from transmedia storytelling which is
new form of storytelling which conveys many legends from past time to present. Recently acquiring
importance by brand stories and requests of consumers to be deeply involved in this process brought
transmedia storytelling into agenda which we can considered within context of postmodern advertise-
ment and communication strategy.
Transmedial story which we can evaluate within postmodern communication understanding makes its
effect to be felt in marketing and advertisement. Sezen (2014, pp. 42-44), Mentions reason for acquiring
importance by trans medial story in marketing communication and particularly in advertisement area
as following; harder processes in attracting consumers, maturing in digital locals generation, audiences
have become active rather than passive, multiple activities which provide consumers to be able to deal
with many works at the same time, collective intelligence created by consumers which come together in
digital environment with same objective, digital games which become part of life, virtual reality where
real world and virtual has mixed and graying areas between platforms.
According to Sánchez (2014, p. 135) story telling establishes an intense connection between con-
sumers and brands. According reasons for appearance of concept in advertisement and communication
worlds are the necessity of differentiation from competitors, requirement of improving communication
with stakeholders and making it continuous and that people are bored for traditional communication
361

methods which were standardized. Other factor is that brands desire to attract attention of consumers who
have this role by presenting them experience. As it is mentioned by Sezen and Sanches differentiation
from opponents and taking place in minds of consumers are becoming harder. Customers can recognize
whether a message is advertisement messages rapidly. They can close themselves against advertisement
messages due to message pollution. Besides consumers want to be in communication and interaction
with brands which they desire. In addition to this will of maintaining contribution to brands indicate
that consumers are selectors of content which they will be subjected to. Marketing and advertisement try
to create opportunity for consumers for creating their own telling universe. Because dreams, fantasies
and expectations of new consumers which give importance to emotions and actions should not be in
gap (Odabaşı, 2014, p. 187). With this context transmedia storytelling seems to be best popular way for
forming and explaining brand stories which are mixture of realist and imagination.
Henry Jenkins explains rise in transmedia storytelling based on change. He evaluates change in con-
sumer based on convergence understanding. With this respect he mentions that postmodern consumers are
identified in marketing world together with their changing properties. Jenkins defines new consumers as:
If former consumers are passive, new consumers are active. If former consumers are individuals who
remain stable as they were directed, new consumer’s loyalty against brands and media tools are get-
ting lower. If it is assumed that former consumers are not individual, new consumers are within social
connection. More quire the former consumers, new consumers prefer to be more open and noisy. (2006,
pp. 6-18)
However Odabaşı (2014, p.181) considers this case from perspective of being passive to active. Author
defines postmodern individual as individual who seeks content by participating to experiences and gives
importance for language games. However Ergun (1997, p. 4) emphasizes media habits of consumers.
According to him none of audiences want to follow a program which was prepared seriously and ac-
cordingly with rules within scope of postmodern consciousness for long term period. Instead they want
to navigate between different television channels or in internet.
New media tools have photograph, video or rather content producers’ case. This case created some
changes for individuals with respect to brands and even with world. Now consumers enter into imaginary
universe of brands and become producer of advertisement process. Contents which were produced within
scope of transmedia storing are presented to customers. However customers participate to this process
accordingly with their desire and extend story and allow them to be popular. With this respect it can be
said that new media tools are locomotive tools for rapid formation and spreading of transmedia. Accord-
ing to Odih (2007, p. 168) revolution has occurred in marketing applications together with development
in internet and mobile applications. Mobile applications were combined with technology and began to
take more place in human life. Odih mentions that brands which utilize from these developments have
achieved to enter brand world of consumers. Consumers can enter into brand world through stories by
means of trans medial story telling strategy. Thereby they reinforce their experience with brands.
Virtual stories which were presented for consumers within context of postmodern advertisement
performs idea leading for present advertising campaigns. Rule for achieving success by marketing in
present days can be mentioned as it passes through establishing good story universe. These stories are
tools which serve for increasing brand effect over consumers and organizations which desire to have
great share from market. Brands influence great customer groups by means of transmedia story tell-
ing. Brands are able to spread their stories by influencing great consumers by means of transmedia
362

storytelling universe. They provide consumers to have interaction with many media platform while
implementing this and incorporate them into story telling universe of brand (Yang and Zisiadis, 2014,
p. 4). Kim and Hong (2013, p. 7) mentions that there is ecosystem which works for maintaining brands
to reach more qualitative customer group. In this ecosystem customers are involved in story universe by
their own request. Thereby brands do not make effort for useless crowd audiences which they will not
be able to make them as their consumer. Instead brands acquire customers which have the potential to
establish relation. According to Kurtz (2014, p. 1) transmedia uses marketing and provide customers to
meet with fascinating environment. Connection is established between individuals and brand by means
of this communication environment which has formed by voluntary participation of consumers. Saying
that transforming ones who are not customers into customer, fan and brand defenders will be a correct
evaluation.
When we compare advertising campaigns which were formed within scope of transmedia storytelling
and campaigns which were planned within traditional understanding, some differences are outstanding.
It can be observed that campaign concept which is formed by traditional advertisement campaigns are
applied by different bodies with same concept. This application brings some deficiencies within itself.
Consumers who are subjected to brand message were able to establish contact with opportunities of that
body. Even though it has internet media in recent times, traditional advertisement campaigns have the
position which gives messages to consumers. In addition to this they were subjected to same message
and visual content since same content was used in all Medias. However it is possible to mention about
formation of new communication system where each media creates its own language dominance within
framework of Trans medial storytelling. When Fragmented media structure of postmodern period (Odabaşı,
2014, p. 162) is considered transmedia storytelling bring multimedia environment together. Trans medial
story telling extends through game, film, comics novel and social network. In this process each commu-
nication tool makes contribution to whole by doing its best within scope of its abilities (Jenkins, 2006,
p. 97). Story which planned within scope of trans medial storytelling can start as televisions series can
extend as comics novel and also internet series can be incorporated in process and can be ended with
novel or full length film. As result each tool says different thing which makes contribution to whole with
textual manner and extends story world (Guerrero-Pico and Scolari, 2016, p. 184). Issue which should
be considered in this point is that transmedial storytelling is not only consists of adaptation as it is in
traditional communication. Concept can be understood as telling story in many environment by dividing
into different parts. However environment where segments will be communicated to consumers depend
on property of channel and content to be told. As we mentioned before advertisement campaigns which
were formed within scope of transmedia storytelling creates whole by completion of different part by
each communication channel. With this respect content which is obtained from comics’ novel or televi-
sion or cinema by consumers express different things. Briefly different media contents are involved in
system during this communication process (Scolari, 2009, p. 587). Most important point s to formation
of transmedia ecosystem by different Medias which supplement each other (Jung et all, 2017). Even
though transmedia storytelling strategy is considered as separate from traditional communication it has
similarity with respect to being dependent on essence of brand. Formation of structure as being loyal to
positioning value of brand, brand recalls have importance while forming telling universe. It will not be
correct to mention about successful communication process if you are away from positioning value of
brand and brand recalls (Tosun, 2007, p. 342).
Starting point of communication process is not important in advertisement campaigns which are
formed within scope of transmedia story telling. Street activity or television advertisement may form
363

beginning point of communication process. Then story universe which extends by social media may
cause consumers to experience in printed media. One of most important facts in this process is that all
media which make contribution to communication process are active in process accordingly with their
own genetic. For example while instagram may make contribution to story universe visually, YouTube
may provide consumers to explore the story by video content. In other words, story universe in trans
medial story are implemented by multiple medias which complete each other rather than single media.
At this point power of internet for creating viral effect is an undeniable fact. It can be observed that
online and offline content were interested within frame work of post modernism. However consumers
try to individualize and depend the brand messages which they encounter without considering media
nature. Starting from the fact that we have relation more or less we can say that there is not common
time or space for everyone. Odih (2007, p. 187) which evaluates Medias within scope of post modern-
ism mentions that time and space concepts are local identifications. Hyper reality areas of postmodern
culture (for example malls, theme and playing parks) eliminated sharp borders of modern understanding
such as inside outside, real – non-real. It is not possible to distinguish place and locations by rational
borders together with virtual communication. Briefly online and offline medias are like chains which are
nested with each other. Yüce Zerey (2014, p. 90) points out intersection set for social media. According
to author things which were mentioned not only remains in online world but also they enter into our life
in offline world too. With this respect process which cover both online world and offline world under
all circumstances should be planned while forming communication strategies. Most important thing is
that interaction between both areas should be considered while creating this strategy. Organizations have
to change their strategies for providing their customers an unforgettable experience and for generating
stories which they involve their products inside them. Because consumers seek things which addresses
emotions rather than mind (Erkas and Baron, 2007) they expect many value life style or story from this
product (Tosun, 2007, p. 342).
When it is compared with traditional marketing communications, it can be observed that transmedial
storytelling strategies have some differences. We can mention both story telling strategy as shown in
Table 1.
As it can be seen from table there is single directional message sending in traditional media where
consumers are passive and message receiver. However in transmedia storytelling it will be correct to
say that dialogue process between customers and brand has been realized. In traditional advertising
campaign processes one message is tried to be sent to all target consumers by means of single chan-
nel. In transmedia storytelling where story universe is extended by contribution of each media channel
consumers appear as factors which direct story. When it is compared with mass communication tools,
it can be said that transmedia tools have more integrated and more flexible structure. This difference in
flexibility mentions continuous connection between platforms. This tells us that different technologies
become relatively flexible by means of transmedia (Jansson and Lindell, 2015). This case coincides with
flexible structure of modernism which rejects general rules of modernism. All media organs should be
considers as nested in transmedia storytelling. Important thing is the contribution which is made by media
tool for extending universe. Control of creative content is under media in traditional media. Media tools
plan the message and determines the process flow. However followers of story in transmedial storytell-
ing may have role development of content. Here synergy and power of cooperation between themselves
determine creative content of campaign. Communication process is directed by participation of followers.
Here participation is realized with consumer’s own discretion. This voluntary participation brings brand
familiarity and consumer loyalty together with it. Consumer which is involved in story universe will gain
364

Table 1. Comparison of traditional media and transmedia
Traditional Media Transmedia

Single directional message send Dialogue between consumers and brand
It can reach to all people by single media channel. Audience determines the orbit to be followed
Single message or theme is adapted for adaptation to different
Each media platform extends with unique contribution of story
media channels.
It controls creative messages Followers make cooperation for development of story
Recycling limited efficiency of investment of area does not Campaign extends profitability and life cycle rather than retail
intersect with media pressure of story pressure frame work since content is suitable for profit.
Audience interest are discontinuous. Audience interest is through invitation
Audience participation increases brand familiarity and consumer
loyalty.
Long term connection is established by maintaining long term
value beyond product for consumers.
Audiences are verified and celebrated.
Source: Buckner, Bonnie and Rutledge, Pamela (2011). Transmedia Storytelling for Marketing and Branding: It’s Not Entertainment, its
Survival. Internet Marketing Association. University of California Irvine Extension.
loyalty for that brand and thereby formation of purchasing loyalty is expected. Transmedia storytelling
is not a story telling which is utilized for only making introduction for product. It is presenting brand
value for consumers beyond product introduction. This value brings long term communications process
between consumer and brand. Consumers have the position of only receiving message in traditional
communication. There is not any feedback from brands to consumers since there is not any interaction.
However there are positive feedbacks in transmedial story telling. Interactions of followers are verified
by celebrated. It is considered that this interaction will increase wish of consumers to remain in story
universe and will make remaining period longer.
Transmedia story telling is seen as story universe where reality and virtually are nested within context
of postmodern approach. When story is compared with communication processed of traditional com-
munication processes, it is possible to observe media diversity of applications and they are separated
with respect to fragmented messages. Story is divided into pieces in this new communication process
and these pieces are consumed in different medias. It can be said that transmedia is more than a story
in this point (Pratten, 2011, p. 3). Point which should be considered in this point is that there is not ad-
aptation between medias of transmedial story. It is storytelling style which extends through visual and
oral expression where audiences are involved in story (Möller, 2014, p. 31). Most important task within
process is undertaken by consumers who became part of creative process (Pratten, 2011, p. 3). It is pos-
sible to evaluate this case as inviting audiences for invitation and indicator for power for interpretation is
at consumers (Odabaşı, 2014, p. 161). At this point it will be correct to say that developments in internet
technology and new media are most important variables which gives this power to consumer. Media
types which not included in lives of consumers have surrounded their lives and had a level which condi-
tions their habits. While traditional communication technology has difficulties for reaching consumers,
internet, web technologies, mobile games, alternative reality games which have entered to our lives by
digital convergence increases influencing power of transmedia storytelling (Yang and Zisiadis, 2014, p. 3).
365

FUTURE RESEARCH DIRECTIONS
It can be seen as result of literature examination that relation between transmedia and postmodern ad-
vertising were considered with limited manner. This study is expected to be literature source for future
studies to implemented within scope of transmedia storytelling and postmodern advertisements. In
addition to this it is considered that it can be basis for applied studies to be implemented within con-
text of transmedia storytelling and brand communication. Researches which consider relation between
transmedia storytelling and brand loyalty can be realized by utilizing from this study. In addition to this
this study is assumed to support researches to be implemented regarding with transmedia storytelling,
brand attitude, brand image and brand perception. Also effects of transmedial storytelling over target
groups having different demographic aspects can be examined after this study. In addition to this it can
be considered that it can support literature researches where relation between transmedia storytelling and
advertisement, brand management, brand communication are examined. Effect of advertising campaign
which are formed within scope of transmedial story telling over individuals can be measured by focus
group studies. Content analysis can be implemented for any transmedial story telling advertisement
campaign. Measurements can be made by measuring instant participation of consumers to advertise-
ment campaign which was formed within scope of transmedia story telling. It is assumed that this study
may have contribution to literature as well as it may have contribution when we think with sectoral
manner. It is considered that it may give idea to advertisement practitioners and brand managers which
have active role in determining advertisement contents and communication strategies of organizations
for determining communication and advertisement strategies. Transmedia story telling provides a long
term communication opportunity. At this point instant participation of consumers throughout transme-
dial campaign can be followed and connection between brands can be analyzed. Special communication
opportunities can be created by determining consumers which are real and have sales volume by means
of transmedia campaign.
CONCLUSION
When we evaluate post modernism within framework of virtual reality concept, we can define transmedia
story telling as establishing virtual universe art. Active consumers follow story parts which flow in different
media channels for experiencing fictional universe. Particularly consumers which come together in online
areas by means of opportunities which are brought by internet technologies perform information share
and compare information they have. It will be correct to say that consumers embraced hunter collector
behavior style and act together. Effort and time which consumers spend in this fictional universe will be
directly proportional with entertainment experience which they will experience (Jenkins, 2006, p. 21).
Transmedia which involves consumers, to process actively, agree that consumers are parts of participat-
ing cultural structure. At this point consumers are not only audiences but also they have interaction with
each other, they make comments and helps determination of flow direction and they are individual who
seek answers. Wonder is belief of audience in transmedial story telling. He/she achieves this reality by
even media applications and alternative reality games (Hazboun refers from Dowd et all. 20132014, pp.
20-21). Considering technology as a tool which assists consumers to achieve parts of universe within
this process will differentiate transmedia concept from digital interaction (Falzon, 2012, p. 926).
366

Postmodern advertisements of which basic focus point is bran and has objective to form brand con-
nection utilizes from hyper reality within this process for performing convincing and awareness which is
required in this process. Thereby it starts to be perceived as imaginary reality and irrational reality which
possible to be reproduced many times is brought into agenda (Tosun, 2007, p. 341). Virtual reality creates
opportunity for consumers to realize participation as if it is experience of real world. Mixing artificial and
reality in postmodern advertising, being foreground of virtual reality which means as if being real may
create different consumer reactions (Odabaşı, 2014, p. 181). With this context transmedia storytelling
presents fictional hyper reality story universe where participants can direct process. They allow them to
enter interaction with multiple media platforms while performing this (Yang and Zisiadis, 2014, p. 4).
Advertisement campaigns which will be formed within scope of transmedia storytelling has some
dynamics as it is in all communication campaigns. One of most important deficiencies which are observed
particularly in advertisement campaigns are failing to know consumer well and able to determine their
qualities correctly. Advertisement campaigns to formed within scope of transmedia storytelling have
the objective to determine consumers correctly which has vital importance for success of campaign.
Also story should have some aspects while story universe is created within scope of marketing com-
munication. It will be correct and in place to mention that each transmedia story should have good flow
and quality. Flow will mean Ability to spread flow stories in different media channels successfully and
guiding consumers in this process. Quality is to evaluate whether requirements of good story are fulfilled
(Brieger, 2013, p. 8). Sánchez (2014, p. 135) mentions common points of transmedia stories as following:
1. It is necessary to establish common emotional connection with target group. It is one of factors
which should be considered while this case determines content of transmedial storytelling. Story
has to be fed from traditions of target consumers, lifestyle, and life view for being successful. With
this context it is not possible to include stories which fail to establish emotional connection with
target group into universe of consumers and establishing connection between brand and consumers.
Thereby attention should be paid for providing story to be selected is fed from lives of consumers.
Created story universe should capture consumers emotionally rather than mentally;
2. Message should be plain. Present consumers are subjected to many advertisement messages as
well as they are subjected to information which come from many media organs. It should not be
forgotten that human mind has certain capacity. All these sent messages are cases which should
be planned by brands which are hard to keep in mind. Message to be submitted to consumers in
story universe which is created within scope of transmedia storytelling should be clear and plain.
If efficient interaction is expected from consumers accordingly with own complexity of stories,
messages within campaigns should be customizable and able to be remembered;
3. It should be reliable and transparent. Postmodern consumer whose brand loyalty is low has the
ability to change decision instantly. With this context it is very important that messages which are
sent to consumers are reliable and transparent. Otherwise dissatisfaction which occurs together
with negative experience share of consumers can become a serious brand problem;
4. Notwithstanding whether stories are real consumers can recognize whether these messages are
advertisement. Thereby stories should have format that they cannot be perceived as part of ad-
vertisement message thereby messages regarding with brand identity should be given with format
367

which is not certain. As the consumers are subjected to many messages throughout day this leads
them to close themselves against advertisement messages. Thereby created story universe should
not be formed as it exerts sales pressure even though they include messages related to essence of
brand. Otherwise consumers will be disturbed about this case and will not present willingness to
participate to invitation of brand. Sales should be final objective of process. This objective should
appear by itself together with entertainment and participation.
When it is considered from marketing perspective transmedia presents and attractive universe for
consumers (Kurtz, 2014, p. 1) and turns people who are not customers into customers and fans brand
defenders by its participating structure (Kim and Hong, 2013, p. 7). We can explain this translation as
making a pass, flirt and interactivity which is experienced between brand and consumer. At this point
interactivity is a factor which allows participation of consumers. This factor allows consumers to have
interaction with content, to modify it and have the opportunity to be idling around by means of sev-
eral activities and videos and allows them to receive feedback from content producers which produce
advertisement campaign messages. Basically these opportunities remove wall which not seen between
brand and consumers and makes contribution to communication process beyond creating story universe
(Hazboun which refers from Dowd et all. 2013 2014, pp. 20-21). Removal of this invisible wall indicate
that connection between brand and consumers can be established. This long term interaction between
consumer and brand is effective over elongating shelf life as well as it provides added value for assets
of brand and additional revenue (Buckner and Rutledge, 2011). Additional products which are created
accordingly with transmedia story telling strategy (mascot, cup, t-shirt etc.) provides additional value
for brand as well as it reinforces story universe and embracing brand. On the other hand giving active
role for consumers within this process provides development of sensitivity of individuals against a
brand. In addition to this it mostly supports loyalty and commitment of individuals against brand. Main
advantages of transmedia story telling is difference in depth level and being focused over introduction
of participating users (Even common creators.) This new communication form create symmetrical two
directional communication model paradigm which can be adjusted according to benefits of brands and
consumers due to these reasons. Thereby organizations create universe and stories as constituents of
their new communication strategies (Sánchez, 2014, p. 135).
In consideration of all these transmedia story telling plays active role in advertisement campaign
processes for establishing long term connection between brand and consumer. Despite traditional ad-
vertisement campaigns which consider consumers as only message receiver, transmedia considers them
as part of brand story and brings brand loyalty fact which brands have lost in recent years into agenda
within framework of emotional connection. Postmodern consumers whose brand loyalty become lower
participate to campaign process which was formed within framework of storytelling by their own re-
quest. Followers make contribution for progress of campaign. Long term interaction and communication
process is experienced by these campaigns which have essence of brand. With the idea that they have
contribution for process by themselves consumers can establish a sharp emotional connection between
brand and consumers. We think that this new communication strategy will be heavily used by brand and
advertisers day by day.
368

REFERENCES
Best, S., & Kellner, D. (1998). Postmodern teori: Eleştirel soruşturmalar (M. Küçük, Trans.). İstanbul:
Ayrıntı Publications.
Bolin, G. (2017). Media Technologies, Transmedia Storytelling and Commodification. Retrieved from
http://www.academia.edu/962826/Media_Technologies_transmedia_storytelling_and_commodification
Brieger, C. (2013). Exploring new communication strategies for a global brand - transmedia storytelling
and gamification (Unpublished Master’s Thesis). Norwegian School of Economics, Norway.
Buckner, B., & Rutledge, P. (2011). Transmedia storytelling for marketing and branding: It’s not enter-
tainment, it’s survival. Retrieved from http://www.kcommhtml.com/ima/2011_03/transmedia_storytelling
Domzal, T. J., & Kernan, J. B. (1993). Mirror, Mirror: Some Postmodern Reflections on Global Adver-
tising. Journal of Advertising, 22(4), 1–20. doi:10.1080/00913367.1993.10673415
Ergun, T. (1997). Postmodernizm ve kamu yönetimi. Amme Idaresi Dergisi, 30(4), 3–15.
Erkas, E., & Baron, J. (2007). The Importance of storytelling in today’s business – A case study (Un-
published Master’s Thesis). University of Gävle, Sweden.
Falzon, C. (2012). Brand development and transmedia production - The geofreakz case study. Journal-
ism and Mass Communication, 2(9), 925–938.
Featherstone, M. (2007). Consumer culture and postmodernism. London: Sage Publications.
Firat, A. F., & Shultz, C. J. (1997). From segmentation to fragmentation: Markets and marketing strategy in
the postmodern era. European Journal of Marketing, 31(3/4), 183–207. doi:10.1108/EUM0000000004321
Firat, F., & Venkatesh, A. (1995). Liberatory postmodernism and the reenchantment of consumption.
The Journal of Consumer Research, 22(3), 239–267. doi:10.1086/209448
Guerrero-Pico, M., & Scolari, C. (2016). Transmedia Storytelling and User-Generated Content: A
Case Study On Crossovers. Retrieved from http://www.cuadernos.info/index.php/CDI/ article/viewFile/
cdi.38.760/pdf_1
Hazboun, S. (2014). Challenges of transmedia storytelling (Unpublished Master’s Thesis). University
of Dalnara, Sweden.
Ilhan, B. E., Kozinets, R. V., & Otnes, C. C. (2013). Transmedia consumption experiences (TCE): Patch-
ing as a narrative consumption practice. Advances in Consumer Research, 41. Retrieved from http://
acrwebsite.org/volumes/1015429/volumes/v41/NA-41
369

Jansson, A., & Lindell, J. (2015). News media consumption in the transmedia age amalgamations, orienta-
tions and geo-social structuration. Journalism Studies, 16(1), 79–96. doi:10.1080/1461670X.2014.890337
Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide. New York University Press.
Jung, J. E., Lee, O., You, E., & Nam, M. (2016). A computational model of transmedia ecosystem for
story-based contents. Retrieved from https://www.researchgate.net/publication/303334066
Kim, J.-H., & Hong, J.-Y. (2013). Analysis of transmedia storytelling strategies. International Journal
of Multimedia & Ubiquitous Engineering, 8(3), 1–10.
Kurtz, B. W. D. (2014). Introduction: Transmedia practices: A television branding revolution. Network-
ing Knowledge: Journal of the MeCCSA-PGN, 7(1), 1–6.
Möller, P. (2014). Transmedya Hikâyeciliğinin Akademik Boyutu. In S. Karaçor, D. Aydın, & A. Gül-
erarslan (Eds.), Transmedya hikâyeciliği (pp. 26-34). Konya, Turkey: Çizgi Publications.
Odabaşı, Y. (2014). Postmodern Pazarlama. İstanbul: Mediacat Publications.
Odih, P. (2007). Advertising in modern and postmodern times. London: SAGE Publications.
Oren, D., & Rehana, H. (2014, April). Postmodern advertising for real. Paper presented at the meeting
of MAC-EMMT 2014: The 3rd Multidisciplinary Academic Conference, Prague, Czech Republic.
Petersen, A. B. (2006). Internet and cross media productions: Case studies in two major danish media
organizations. Australian Journal of Emerging Technologies and Society, 4(2), 94–107.
Pratten, R. (2011). Getting started in transmedia storytelling: A practical guide for beginners. Retrieved
from http://videoturundus.ee/transmedia.pdf
Rigel, N., Batuş, G., Yücedoğan, G., & Çoban, B. (2005). Kadife karanlık. İstanbul: Su Publications.
Sanchez, C. (2014). Transmedia storytelling, an ally of corporate communication: #Dropped by Heineken
case study. Communication & Society / Comunicación y Sociedad, 27(3), 127-150.
Scolari, C. A. (2009). Transmedia storytelling: Implicit consumers, narrative worlds, and branding in
contemporary media production. International Journal of Communication, (3): 586–606.
Sezen, D. (2014). Transmedya Hikâyeciliği. In S. Karaçor, D. Aydın, & A. Gülerarslan (Eds.), Trans-
medya hikâyeciliği (pp. 39-56). Konya, Turkey: Çizgi Publications.
Spicer, M. W. (2005). Public administration enquiry and social science in the postmodern condition:
Some implications of value pluralism. Administrative Theory & Praxis, 27(4), 669–688.
Taran, B. (2017). The reflections of postmodern art movements on advertising in consumer society.
International Journal of Social Sciences and Education Research, 3(2), 434–447.
370

Tosun, N. B. (2007). Post modern reklamların etkisi. Marmara Üniversitesi Sosyal Bilimler Enstitüsü
Öneri Dergisi, 7(27), 341–349.
Yang, B., & Zisiadis, M. (2014). Transmedia Marketing: Strengthening Multiplatform User Participation
Through Storytelling (Unpublished Master’s Thesis). Umeå University, Sweden.
Yıldırım, M. (2009). Modernizm, postmodernizm ve kamu yönetimi. Uluslararası İnsan Bilimleri Der-
gisi. Retrieved from http://www.insanbilimleri.com
Zaltman, G. (2014). Tüketici Nasıl Düşünür. İstanbul: Kapital Medya Hizmetleri.
Zerey, Y. (2014). Dijital – interaktif pazarlama ve Coca – Cola uygulama örnekleri. In S. Karaçor, D.
Aydın, & A. Gülerarslan (Eds.), Transmedya hikâyeciliği (pp. 88-118). Konya, Turkey: Çizgi Publications.
Zimmermann, P. (2014). Transmedya Hikâyeciliği. In S. Karaçor, D. Aydın, & A. Gülerarslan (Eds.),
Transmedya hikâyeciliği (pp. 19-25). Konya, Turkey: Çizgi Publications.
ADDITIONAL READING
Karaçor, S., Aydın, D., & Gülerarslan, A. (Eds.). (2014). Transmedya hikâyeciliği. Konya: Çizgi Pub-
lications.
Odabaşı, Y. (2014). Postmodern Pazarlama. İstanbul: Mediacat Publications.
Phillips, A. (2012). A creator’s guide to transmedia storytelling: how to captivate and engage audiences
across multiple platforms. USA: McGraw-Hill Education.
Pratten, R. (2015). Getting started in transmedia storytelling: A practical guide for beginners. USA:
CreateSpace Independent Publishing Platform.
Tenderich, B., & Williams, J. (2015). Transmedia branding: Engage your audience. USA: USC An-
nenberg Press.
Zeiser, A. (2015). Transmedia marketing: From film and TV to games and digital media. USA: Focal Press.
KEY TERMS AND DEFINITIONS
Advertising: Advertising is the communication method that mediates the promotion of products and
services, and is fed from marketing goals.
Brand: Brand is a product and service that reaches a certain level of awareness, offering a promise,
guarantee and value to the consumer.
Brand Attachment: Brand attachment is the emotional closeness between the consumer and the
brand. In the absence of the brand, consumers have a negative feeling.
Brand Loyalty: Brand loyalty is the feeling of buying and repurchasing any brand again. There are
two types of loyalty, behavioral and attitudinal. Behavioral loyalty, while expressing repetitive purchas-
ing, is also accompanied by emotional closeness as well as attitudinal purchasing.
371

Convergence Culture: Convergence culture, the development of internet and social media tools, and
the increase of individual participation under the influence of postmodernism. In this culture, consumers
are in the process of being involved in the communication process and actively participating.
Hyperreality: Hyperreality is the imaginary element of reality. The symbolic and semantic consump-
tion of today’s advertising can be explained with hypergravity.
New Media: New media is the digital media channels that take place in the lives of individuals with
the development of information and communication technologies. These include internet, mobile ap-
plications, social media.
Postmodern Advertising: Postmodern advertising is the period of advertising and rationality and
long narration where the feelings, images and images are taken. Postmodern advertisements, which offer
consumers a virtual story universe, attach importance to symbols in consumption.
Traditional Media: Traditional media constitutes a set of media covering media channels such as
television, newspapers, radio, and magazines.
Transmedia Storytelling: Transmedia storytelling is the method of telling the narrative, which is
a narrative form, through today’s new and traditional means of communication. This communication
strategy, which requires the common use of more than one commodity, provides a long-term communi-
cation between consumers and the brand.
372
View publication stats

Use of Transmedia Storytelling Within The Context of Postmodern Advertisement PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Use of Transmedia Storytelling Within The Context of Postmodern Advertisement PDF

Uploaded by

Copyright:

Available Formats

See discussions, stats, and author profiles for this publication at: https://www.researchgate.

Chapter · December 2018

The user has requested enhancement of the downloaded file.

Significant change is experienced in consumer trends within framework of postmodern understanding.

CONCEPT AND EVOLVEMENT OF TRANSMEDIA STORYTELLING

POST MODERNISM AND POST MODERN ADVERTISEMENT UNDERSTANDING

USE OF TRANSMEDIA STORYTELLING WITHIN CONTEXT

Table 1. Comparison of traditional media and transmedia

Traditional Media Transmedia

FUTURE RESEARCH DIRECTIONS

KEY TERMS AND DEFINITIONS

View publication stats

You might also like