Anda di halaman 1dari 1

allowed for the articulation of a sprawling, boundary-blurring transmedia storyworld in a way

that an individual television series could not, thereby fostering new forms of engagement.
Lost’s producers implemented a variety of techniques encouraging audience members to
search out scattered and oblique transmedia paratexts. During the television series’ second
season, for instance, ABC aired commercials displaying a phone number and website address
for the Hanso Foundation, a fictional institution within Lost’s diegesis. The Hanso Foundation
website, in turn, funneled audiences to host of other paratextual extensions, including letters
in newspapers, websites, and even live appearances by actors in character, comprising The
Lost Experience alternate reality game. In addition to fostering audience interactivity, these
paratexts encouraged a playful immersion in Lost’s transmedia storyworld by appearing not as
works of fiction but as real life. Such interactive and immersive techniques continued, until the
television series’ conclusion in 2010, allowing for a prolonged text-audience engagement.
Lost’s storytelling strategies also encouraged engagement with its producers and audiences.
Executive producers Cuse and Lindelof hosted ABC’s The Official Lost Podcast, in which they
directed fans to transmedia extensions, discussed the production of the television series, and
welcomed questions and feedback from the fans. While The Official Lost Podcast was part of a
clever audience-building strategy in the crowded and increasingly competitive multi-channel,
post-network era, The Official Lost Podcast fueled the perception of a heightened connection
between Cuse, Lindelof, and the fans. By validating fan feedback, Cuse and Lindelof fostered
notions of fan agency and influence. Although this producer-audience bond proved effective at
fostering an economically desirable participatory culture, it also enabled fans to challenge
producers 4 regarding the formation of Lost’s transmedia canon. Hence, The Official Lost
Podcast ultimately became a site of struggle in which fans and producers continually
negotiated the canonical relevance of Lost’s transmedia paratexts. In addition to The Official
Lost Podcast, fan-produced Lost podcasts enabled a segment of the audience to become highly
engaged with other fans. One of the most popular podcasts, The Transmission, focused on
comprehending and mastering Lost’s transmedia storyworld.5 Hosted by Ryan and Jen Ozawa,
The Transmission featured fan discussions frequently centering on the collaborative sharing of
information about Lost’s transmedia storyworld. Yet, far from being a harmonious space, The
Transmission was marked by both external and internal tensions. The Transmission’s fans
positioned themselves in opposition to the mainstream audience perceived as unwilling or
unable to comprehend and master the wealth of storyworld information contained in Lost’s
transmedia franchise. In addition to an insider/outsider divide, an antagonism existed within
The Transmission’s audience centering on the “correct” way to engage with Lost’s transmedia
franchise. Lost’s expansive transmedia scope confused issues of generic classification, resulting
in seemingly contradictory expectations and narrative pleasures experienced by two fan
groups, “shippers” and “mythologists.” Lost’s transmedia storytelling strategies proved
effective at maintaining interest in the television series, helping it become a global hit and
ushering the notion of transmedia

Minat Terkait