Using amateurish ‘ found footage’ style filming techniques, the film is comprised of edited scenes from (fictional) recovered footage of a doomed college filmmaking group, intent on discovering the secret of the Blair Witch.Ĭo-creator of the production, Mike Monello of Campfire explains the transmedia component of the project came as a response to audiences, who, after seeing short clips from the as yet unfinished film during 1998, turned to cyberspace to find out more about The Blair Witch Project. One such example can be made of 1999 film The Blair Witch Project, which is somewhat of an early pioneer in transmedia filmmaking.
Of course, this occurs on a variety of levels, from using real money to buy products on your Facebook’s Farmville, to film producers convincing their audience of the reality of a storyline, enticing them to explore the story beyond the silver screen, looking for clues in their everyday lives. In terms of transmedia storytelling, it seems the evolution of technology extends the reach of the style, and the capacity for producers and consumers to work together in the creation of worlds of augmented reality, in which it is possible to exist. This is the ‘logo’ for the film similar stick figures are recurrent throughout the film, a symbol of the apparent ‘witch’ presence.
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