Tuesday, November 24, 2015

Digital Geeks and YOU Can Win the War on Terror

tanuha2001via Getty Images
By Anne Zeiser
Founder, Azure Media

We think ISIS is unique, but young people getting caught up in extreme thinking isn't new. It's an age-old problem that's in play right now throughout this country. Gang members in major cities, Columbine-like shooters, fringe cults, and prisoners have all been radicalized or indoctrinated in the U.S. through the exact same formula.

The formula: disenfranchized young men (mostly), raised with little means and hope who are desperate for meaning, purpose, and a sense of community fall prey to evil ideologies and groups because they fulfill these deep-seated needs. The promise can range from money, drugs, glory, redemption, or fame, but the need is the same. So at its core, ISIS isn't a product of religion or even ideology, but a product of lack of opportunity and hope. Its demented dogma channels that disenfranchisement and its output is fear.

Extremists themselves reveal how to combat them. ISIS isn't a country, a political force, or even a single entity with a clear leader. With no centralized physical place, ISIS is everywhere -- literally and in our minds. Its tentacles grow wider and deeper by the minute. So, bombing ISIS targets does little good beyond making us feel a bit better. But ISIS does inhabit one common place. Members plan, proselytize, recruit, and promote online. Sometimes covertly; sometimes in plain sight. Digital is ISIS's main forum and its connective tissue. That's where we should meet them head on.

Also, perception is paramount to terrorists. ISIS is motivated by our fear and has little fear of their own, except for being marginalized, humiliated, or killed by a woman so they won't go to heaven. Loss of life is no deterrent to ISIS because they don't value it the way we do. In fact, becoming a martyr and going to "paradise" is an end-goal, bringing greater glory to the cause. But because they understand life's supreme value to us, they artfully peddle their currency of fear. A perception campaign that overcomes our fear and plays into theirs could cut them off at the pass.

Can we combat the elusive ISIS? Absolutely. Simply reverse-engineer the psychology of these radicalized extremists and wage war on the two most powerful fronts -- an invisible digital trail and a visible digital trail.

The Invisible Digital Trail

The first line of defense uses the strategy of big data collection and analysis to bring the hidden into full view. It may not sound sexy, but the "1" and "0" are far mightier than the sword. That's because the trail of data that each of us leaves is forever traceable. Where you go, what you buy, and with whom you hang out all leave a digital footprint. That also goes for almost every move of every member of ISIS.

War, now and forever, will be waged at a digital level. Not just with bullets and bombs, but with algorithms and analysis. Digital geeks and digital detectives are today's new warriors. They gather huge volumes of data, program it to reveal key insights, and connect the dots to help us find the pockets of ISIS members so we can root them out. Information gathering, data sharing, and data analysis by free nations at the highest level is the most effective means of nailing ISIS and thwarting their efforts.

So, the "silence" you hear and may misconstrue as inaction, in fact is the stealth-like wheels of geek-dom in action. Programmers, digital analysts, hackers, and even gamers are joining the cause. And if you rankle at the idea of Google and Facebook "owning" your personal data profile, ostensibly to upsell new products to you, remember that same kind of data can also be used to keep us safe. This just may be one of those moments when "Big Brother" can be used for the greater good.

The Visible Digital Trail

The second front is placing a vibrant collective consciousness publicaly on everyday digital platforms in response to ISIS's exquisite PR machine. They monitor our news and our social media, gleefully awaiting our "Shock and Awe" after a successful attack. They're exultant as we divide on whether to embrace the glut of their victims -- Syrian refugees. Yet ISIS has killed more Muslims than people of any other religion. They chortle as we miss the simple point of the Arab proverb, "the enemy of my enemy is my friend."

And when we succumb to blind ignorance and cowardice by assuming all Muslims are our enemy, we prove the very point ISIS is making about us. No Muslim as president; closing U.S. Mosques; helping only Christian refugees; requiring a Muslim registry. These impulses are as ignorant as our internment of Japanese-Americans during WWII. And this thinking begins to enter the slippery slope of Hitler's full-on delirium that Jews were the cause of society's evils. ISIS has reverse-engineered the psychology of Americans and is watching us take the bait of fear.

This is where you and I can make a big difference. But, we cannot blink. We must fervently voice our resolve and courage through an outpouring of compassion. We must not fear, but rather embrace the Syrian refugees. They're also victims of ISIS, but have lost everything. By doing the right thing in the name of humanity, we'll also win the PR and social media war, disproving ISIS's claims about us. If you're afraid there will be a few bad apples among those Syrian refugees, you'd be right. They're in any given population -- at your school, in your workplace, and your apartment complex. But that doesn't mean that they're agents of ISIS. And for those who are, we can out-geek them.

In the end, doing the right thing always wins out over being a coward. Now's the time to shed our cloak of fear and flood the digital universe -- Facebook, Twitter, LinkedIn, Instagram, Snapchat, YouTube, Periscope and every available web site and blog -- with support for all of ISIS's targets, whether Western or not. Do it online and do it in practice. Invite refugees into our communities, learn about their culture, show them the promise of the U.S. By being fearless and compassionate we can snuff out the power of terrorism over us.

The greatest humiliation for ISIS is if we are undaunted and are we are a vocal digital majority. If we can do it for Marriage Equality, we can do it against ISIS. The movement could be #Fearless #EnemyofmyEnemy #Dauntless #GoodPrevails #DigitalLove #ISISLoses or whatever you want to call it.  Just show ISIS that you're unassailable.

Anne Zeiser is a critically-acclaimed transmedia and social impact producer and media strategist. She's stewarded films and iconic series for PBS, produced news for CBS, managed national brands for marketing firms, and founded Azure Media, which develops transmedia projects on air, online, and on the go that fuel social impact in communities, in schools, and in capitals. With media partners from PBS and the BBC to Miramax and Sikelia Productions, Zeiser has successfully launched and marketed film studios and media organizations, feature and documentary films, television series and specials, mobile games and apps, and online video and media communities.  She's the author of Transmedia Marketing: From Film and TV to Games and Digital Media from Focal Press' American Film Market® Presents book series.

Tuesday, November 3, 2015


Walt Disney Studios

By Anne Zeiser
Founder/CEO Azure Media

Author, Transmedia Marketing: From Film and TV to Games and Digital Media

The long-awaited first full-length trailer for December's Star Wars: The Force Awakens debuted a week and a half ago on Monday Night Football on Disney-owned ESPN. Anticipation for the trailer was palpable because Disney (which bought Lucasfilm in 2012) had meted out the drip-feed of information about the J.J. Abrams-directed film so carefully, it left more questions than it answered.
The "public" mystery began in April 2014 with the film's top-secret production at the UK's Pinewood Studios and on location in Abu Dhabi and Iceland. A year ago, in November 2014, Disney released the first 88-second teaser introducing some new characters in the franchise; in December, the studio revealed more of the film's key characters through Topps trading cards; in April 2015, a two-minute teaser unveiled at the Star Wars Celebration in Anaheim, CA; and in May, Vanity Fair's exclusive cover issue showcased new and reprieved characters.

 In July, a panel at the 2015 Comic Con in San Diego revealed behind-the-scenes film footage; in August, attendees of Disney's D23 Expo received a commemorative poster and Disney released a 15-second video on Instagram; in September, a line of branded toys, books, clothing and various other products available at Disney Stores and other retailers launched live on YouTube as part of an 18-hour global broadcast; and most recently, in October, Disney unveiled the film's theatrical release poster (sans Luke Skywalker) and just days later, released the two and a half minute full-length theatrical trailer. 
Super fans were voracious for more clues to the story, universe, and characters for the seventh installment of the transmedia wonder, set three decades after the Return of the Jedi. The trailer introduced a new villain, Keylo Ren, who channels Darth Vader and followed two new heroes (and possible Jedis), desert scavenger, Ray and Stormtrooper, Finn. It also brought back franchise faves Hans Solo, Princess Leia, and Chewbacca... and tantalized us with a glimpse of Luke Skywalker's robotic hand. And, to offer plot and thrill in equal measure, the trailer thrust viewers into the maw of signature raging battles -- all against the backdrop of John Williams' new arrangements of older themes and new music.
Sixteen million people saw the trailer on Monday Night Football, garnering 17,000 tweets per minute while it aired on ESPN. With its additional release on YouTube and Facebook, the trailer racked up a new record-breaking 112 million global views in 24 hours
That's it for big reveals before Star Wars: The Force Awakens hits the big screen on December 18th. Disney and Lucasfilm are segueing all that built-up demand into ticket sales, evident in their entreaty on StarWars.com: "The Force. It's calling to you. We can't wait for you to let it in, again, this December." The frenzy for tickets on starwars.com and other ticket sites crashed them the first night they became available -- some five weeks before the film's premiere.
This is a brilliant example of transmedia marketing in action. The multi-platform strategy Disney and Lucasfilm used to tease their film is explained in my new book on transmedia engagement for media and entertainment, Transmedia Marketing: From Film and TV to Games and Digital Media:
Many successful digital and viral entertainment marketing campaigns develop content that first, creates mystery around a passion topic or project; and second, rewards audiences by making them feel special or in the know. The powerful tension between these emotions has an amplifying effect. It's accomplished first by providing teaser content that asks as many questions as it answers to create pent-up audience demand; and then, by releasing desired content and clues in a drip-feed to sustain the demand. This places superfans in the position of having content or information first. They share because their tribe will be interested andbecause they want to show they're in the know.
So, you must reverse-engineer your content. Design a carefully-orchestrated narrative around it and decide how, to whom, and when to tell your story. Seed "Rabbit Holes" or clues to connect audiences to a story universe or simply deliver ongoing project news. Use online content to reveal a character's POV, deliver production news, or release poster art, teaser trailers, or preview Web sites to flesh out an intriguing fictional or non-fiction narrative. This technique works well as a teaser campaign for films, TV programs, and games. Over time, the narrative takes shape on both digital and traditional media and your audience helps sustain the storyline's momentum.
Just as Disney and Lucasfilm have orchestrated it, you must go see Star Wars: The Force Awakens to untangle all of its mysteries. But in the meantime, you can scour Star Wars-themed products on grocery shelves and retail stores to look for more clues.
Photo by Anne Zeiser
Anne Zeiser is a critically-acclaimed transmedia and social impact producer and media strategist. She's stewarded films and iconic series for PBS, produced news for CBS, managed national brands for marketing firms, and founded Azure Media, which develops transmedia projects on air, online, and on the go that fuel social impact in communities, in schools, and in capitals. With media partners from PBS and the BBC to Miramax and Sikelia Productions, Zeiser has successfully launched and marketed film studios and media organizations, feature and documentary films, television series and specials, mobile games and apps, and online video and media communities. She's the author of Transmedia Marketing: From Film and TV to Games and Digital Media from Focal Press' American Film Market® Presents book series.

This story appeared in the Huffington Post 

Monday, November 2, 2015


This article originally appeared in Huffington Post on September 25, 2015 

By Anne Zeiser, Founder/CEO, Azure Media
Author, Transmedia Marketimg: From Film and TV to Games and Digital Media

The U.S. is devolving and becoming increasingly insular.
One presidential candidate wants to build a wall around Mexico to keep out immigrants (Trump); another posits that evolution is "satanic," the Big Bang Theory is a "fairy tale," and that a Muslim shouldn't serve as a U.S. president (Carson); another (who's a physician) didn't debunk the myth of a link between vaccines and autism in a recent debate (Rand); and yet another (who's a woman) supports a government shutdown to defund Planned Parenthood's mammograms and AIDS screenings (Fiorina). 
This while Germany and other nations took in thousands of Syrian migrants and refugees, with few questions asked. And this while the Pope visited U.S. shores, respectfully asking us to see the bigger picture and accept our responsibility to help humanity and protect our Earth. Tackling climate change head on and ensuring the health of our most vulnerable with vaccines were imbued in the Pope's entreaty. Seems Europeans are more compassionate and scientifically enlightened than Americans. 
In Mashable this week, Dan Rather wrote an incisive article saying, "Ignoring science isn't just a Republican problem. It's an American problem." It's true, many Americans are science deniers, questioning the latest scientific consensus on evolution, climate change, vaccines and many other critical issues. Remember when NASA shuttle landings warranted ducking out of school or work to watch on a restaurant TV because they were so exciting? How did we lose our love of scientific inquiry and exploration? In part it's because Americans no longer respect experts, let alone scientific ones. It's also because we don't understand and appreciate the brilliance of the scientific method. 
As an organic and self-correcting collective, science mostly gets it right. Scientists are constantly evaluating science and its contributing data. That's why science and medical journals are peer-reviewed. Does your profession require that something you want to say or do must pass muster with a group of your peers? Imagine hundreds of other competitive carpenters looking at your carpentry and weighing in to confirm that you put every nail in the right place! And beyond that, for science to stand, it must be replicable. It requires duplication of results by many different scientists with separate studies and methodologies -- over time. Imagine those carpenters building similar houses and confirming (or not) that your work was sound -- placing your work under constant scrutiny for generations! 
The scientific method has built-in checks and balances, like the protective devices that the Founding Fathers attempted to insert into our infant democracy. So this carefully-structured scientific method yields some of the most trustworthy sources of information out there. Way more trustworthy than a random blogger, your neighbor, or any other self-proclaimed expert. Yet in this era of social media, people tend to believe and share these personal opinions more than experts'. The appetite for short-form media and "gotcha" politics has reduced complex subjects into polarizing positions, creating the new virtual TV show, Are you Smarter Than a Scientist?
Many people resisted the idea of the Earth being round or humans landing on the moon, but in the end, the science prevailed. The same applies to today's science denialism issues. Science doesn't care whether you believe it or not. It's not a belief system; it simply happens. So rising water levels and the other consequences of climate change will continue to occur. The daily news is replete with evidence of climate change in many realms -- from weather and endangered species to agriculture and the economy. Mountains of science from around the world shows global warming is real and is caused by human activity. Yet many people still fall prey to armchair pundits who try to disprove climate change without even knowing the difference between weather and climate.
And when too many people don't vaccinate, we'll continue to get outbreaks of preventable deadly diseases, just like we did earlier this year with measles at Disneyland in California, and in other pockets worldwide. The science shows that high rates of vaccination preserve herd immunity in a population and reduce the number of outbreaks of many deadly diseases -- essential to protecting the very young and old and cancer patients who can't be vaccinated. And, eons ago, sound science disprovedthe tired old saw of a possible link between vaccines and autism. The original Lancetpaper was retracted and the latest science shows the influence of genetics in causing autism, perhaps occurring in the womb.
Science is iterative and requires a consensus of the larger scientific community based on their ongoing analysis of the cumulative data. The scientific method is a forward-moving and elegant mechanism. And, scientists' work is part of that rigorous process. Doesn't it make sense to listen to the best and brightest in science, and in every field of inquiry? In the end, that will make us all the smarter.
Anne Zeiser is a film and media professional and a science geek. At the upcoming Jackson Hole Wildlife Film Festival she'll be talking about the power of transmedia projects in science, the environment, and conservation to engage and inspire audiences. She's also the author of Transmedia Marketing: From Film and TV to Games and Digital Media, about transmedia storytelling and engagement in media and entertainment from Focal Press in the American Film Market® Presents book series.

Sunday, May 17, 2015


Stills taken from Mad Men Provided through the courtesy of Lionsgate 
Mad Men's key art and marketing materials from its Season 1 premiere 
through its final Season 7 were inspired by the series' signature title sequence image.

By Anne Zeiser, founder of Azure Media and author of Transmedia Marketing: From Film and TV to Games and Digital Media

Mad Men ended tonight in keeping with the spirit of the series and the mini-film that introduced it. Not with a suicide, but with a raft of characters’ life shifts with unknown possibilities. Seven seasons ago, if you’d looked closely at the series’ 36-second opening title sequence, ushering audiences into the glossy, but conflicted world of ‘60s  Madison Avenue, you’d have known how it all ended -- more or less.

The title sequence for Mad Men that has opened the AMC series since it’s 2007 debut is rife with symbolism. Art pundits and superfans alike have imbued the series opener with silhouetted Don Draper’s existential spiraling loss of control. But, no one except Matthew Weiner, Mad Men’s creator and the steward of its story world, characters, and plot, knew that the title sequence foreshadowed the series’ entire story arc across seven seasons. 

In the iconic opener, viewers see the back of the enigmatic ad man enter an office building and, as that world crumbles, watch him plummet from the skyscraper. Seen from multiple POVs, he falls past juxtaposed ads peddling the post-WWII American Dream – alcohol, beautiful women, and wholesome family life. All this represents Draper’s metaphorical crises of confidence and authenticity, played out season after season, relationship after relationship, ad campaign after ad campaign. 

Weiner even teased us with the possibility of Draper’s figurative fall from grace transforming into a literal fall to death in the antepenultimate episode, “Lost Horizons.” As he enters his new McCann Erickson skyscraper office for the first time, Draper pushes on the sealed window, trapped and uneasy.  But Draper falling to his death is not the ending Weiner plotted for the ending seven years ago. "What I envisioned was vaguer, a feeling. The actual concrete version came to me about three or four years ago, and that's exactly how we filmed it," Weiner relayed to AP’s TV critic, Frazier Moore. Weiner added, "All I can say is, that we followed the rules of the show.” 

And follow he did. When viewing the title sequence as a prĂ©cis to the entire series’ themes and rules, we never see the protagonist hit the ground. Deep into the fall, as the silhouetted man hurdles directly into the viewer/camera, the fall stops and the shot resolves on the cypher of a seated man viewed from behind— reconstituted as an ersatz Humpty Dumpty. And that’s exactly what happened to Peggy Olson, Roger Sterling, Joan Holloway, and Don Draper in Mad Men’s season finale. Peggy found love and respect right under her nose; Roger finally grew up; Joan let her true voice roar; and Don realized internal peace, which of course he segued into one of the world’s best ads of all time for Coca Cola, "I'd Like to Teach the World to Sing (In Perfect Harmony)."

As the series drew to a close, we left all four sitting on that metaphorical couch, in charge of their own worlds. Fitting and in character.

If you watch the main title sequence one more time perhaps you can see the full arc of series and its characters in this brief 36 seconds.

For a behind-the-scenes reveal of the creation of Mad Men’s opening title sequence, I interviewed Mark Gardener, the sequence’s co-creator and Imaginary Forces’ former creative director. Mad Men is one of several vibrant case studies in my upcoming book, Transmedia Marketing: From Film and TV to Games and Digital Media on transmedia storytelling and engagement in media and entertainment from Focal Press in the American Film Market® Presents book series. To follow is a sneak peek of that case study,  Mad Men—Branding the American Dream” from Transmedia Marketing (publishing June 2015):

The branding for the Emmy award-winning Mad Men, some of the most distinctive and stylized creative work in television, was not an accident—not if Matthew Weiner had anything to do with it. And Weiner’s artistic vision and attention to detail had a lot to do with it. Weiner had been incubating the series about the halcyon years of the post-WWII advertising industry for a very long time. In fact, it was Weiner’s 1999 Mad Men script that compelled David Chase to bring him on as a Sopranos writer. After the Sopranos ended in 2007, Weiner tenaciously pursued a network for the drama he believed in. To Weiner, the period in US history from the late 1950s through the early 1970s spoke volumes about past, present, and future life in the US. HBO and Showtime passed on it, but eventually he sold 13 episodes of Mad Men to AMC, a network with no successful original programming to date. 
So in 2007, the untested period drama with unknown actors needed a brand and a look. Mad Men’s creator Weiner had a clear vision, not only for what the series was about, but also how to communicate it. The series’ key theme was encapsulated into the credo of Don Draper, the series’ primary ad man, “Advertising is based on one thing: Happiness.” Mad Men was a reflection of an era that sold the American Dream, but Draper, as a stand-in for many other Americans, was confused by what that truly meant and how to genuinely find himself within that dream. 
It was the irony of this man’s success at hawking happiness, while struggling to find a modicum of his own that Weiner wanted to communicate. That and the inner conflict of this Madison Avenue boys’ club, who were doting suburban family men on weekends, and hard-drinking, chain-smoking, and philandering rakes during the week. 
Imaginary Forces’ creative directors Mark Gardner and Steve Fuller were tasked with creating an open that matched the series’ complexity and emotion and communicated its core themes. They had two amazing assets to work with: the series’ pilot and direct access to Weiner. Weiner wanted the title sequence to communicate two stories: the one that you see, and the real story that you only see in glimpses. And he didn’t want it to have a 1960s pastiche look, but rather to be placed firmly in the era. Gardner and Fuller sought a visual style representing the 1960s that was also contemporary. And they wanted to convey the dual life of a man who was both cool and sophisticated, but also out of control. 
He essentially didn’t even know who he was and he was a conflicted character. We wanted to show everybody that on the surface he’s very in control, a very confident person, but is living a lie. And that’s something that’s obviously come out far more over the seasons, but was there even just in the pilot. And so we wanted to have something that got to that.                                         
—Mark Gardner, creative director, SYPartners
Weiner presented the concept of a man walking into an office building, entering his office, placing down his suitcase, and jumping out the window. But of course, the title sequence story needed to be much more than that. The creative directors explored the loss of control that falling represents by gathering their favorite falling scenes from films. Saul Bass’ final title sequence for the film Casino and many Hitchcock films, including North by Northwest, inspired the creators. 
We were trying to get at the heart of what the show was about in falling. It just seemed like this is something everyone recognizes. Everyone dreams about it. It’s a very powerful metaphor.
 —Mark Gardner, creative director, SYPartners 
And with the benefit of CGI (computer-generated imagery) they created a more modern, stylized look. They had the man fall into a chasm of false and conflicting advertising promises—from pantyhose and alcohol to wedding rings and families—abstractly and monochromatically depicted on the sides of skyscrapers. Rather than present the fall in a continuous CGI camera move, it looked like a real film shoot, as if there were cameras on the surrounding buildings creating a variety of shots—wide shots, medium shots, and telephoto lens shots.
Stills taken from Mad Men; Provided through the courtesy of Lionsgate The multiple "camera" POVs of the falling man created in CGI.
In early creative rounds, the sequence was one continuous fall. But Weiner wanted something to set up the fall. So the creators created an abstract office world that shattered and led to his fall. The clincher was how the man was depicted. The creative directors chose the power and mystery of a black and white silhouetted man, ostensibly Don Draper, shown first from behind as he entered an office, echoed in tight silhouetted shots of his foot and briefcase. The motif of the backside of inscrutable figures has penetrated culture—from the brooding photo of JFK during the Cuban Missile Crisis to the Following fan movie clip montage of people shot from behind on YouTube. 
Stills taken from Mad Men; Provided through the courtesy of Lionsgate
Mad Men’s Don Draper is a mysterious and conflicted silhouetted man.
And the title sequence resolved on a signature, seated silhouette of an enigmatic Draper, in control, holding a burning cigarette. The silhouette shot sealed the deal for Weiner when Imaginary Forces pitched their initial work to him, and it ended up carrying the series’ marketing materials. 
It was that image of him from behind, sort of unknowable, but full of confidence and mystique that was the thing. He said, “That’s my show. You summed it up in one frame.”   
—Mark Gardner, creative director, SYPartners 
Stills taken from Mad Men; Provided through the courtesy of Lionsgate
The signature final silhouetted shot of Mad Men’s title sequence, which drove the series’ branding and marketing materials.
The team developed three or four ideas, but it was clear to Weiner that the approach in the final title sequence was the best. But this sequence concept was chock full of problems for AMC and Lionsgate. First, they had concerns about associations of the falling man with photos of 9/11 victims jumping from the Twin Towers. And then there was the overt depiction of an indulgent, if not decadent, lifestyle. 
I was witness to some of those conversations such as, “We can’t have someone falling out of a building. We can’t show someone with a cigarette in their hand. We can’t have references to alcohol,” which all are there in the title sequence. And Weiner said, “No, we need all of those in.” It’s quite inspiring to hear someone defend their project. You see how these things can get ruined by people insisting on compromising. And he just didn’t.          
—Mark Gardner, creative director, SYPartners 
In the end, the network and studio took a chance on Weiner’s singular vision and Gardner and Fuller’s unique expression of it. Silhouette Man’s reappearance, back in control, in the final frame, sold them on Falling Man. To bring the title sequence fully to life, Weiner chose “A Beautiful Mine,” a moody and evocative jazz arrangement by RJD2 as the open’s theme music. The song has a Hitchcockian quality, akin to Bernard Herrmann’s music. Its foreboding is realized with a major break in tone and tempo when the man’s world falls apart and he tumbles downward. 
Mad Men’s title sequence is a 36-second cryptic, dream sequence of a silhouetted man lost and trapped in the American dream that he peddles.

The complete Mad Men case study appears in Transmedia Marketing: From Film and TV to Games and Digital Media, which skillfully guides media makers and media marketers through the rapidly changing world of entertainment and media marketing. Its groundbreaking transmedia approach integrates storytelling and marketing content creation across multiple media platforms – harnessing the power of audience to shape and promote your story. Through success stories, full color examples of effective marketing techniques in action, and insight from top entertainment professionals, Transmedia Marketing covers the fundamentals of a sound 21st century marketing and content plan.