The digital technology provides people a more easily and faster way to access media content, pushing media convergence to get further to interactive with customers across multiple platforms. It turns out that increased the intimacy between producers and customers in a way.
According to Jenkins pointed out that digital media convergence:
“rather than talking about media producers and consumers s occupying separate roles, we might now see them as participants who interact with each other according to a new set of rules that none of us fully understands”.
(Jenkins, 2006, 212)
Specifically speaking, for example, for those Harry potter fans, not only they can access the films through smartphone or computer to watch it again and again and again. Also, they can become a more active way to interact with Harry Potter, for example, by download the Fandom Community App to communicate with other fans, to discuss Harry Potter making the media content getting circulation in the active way (Jenkins,2015). Through crossing multiple media system to fit in contemporary consumers with socially connected.
In addition, another example of intimacy is the new forms of contemporary media, such as 3D cinema, augmented reality, virtual reality and so on, which is the way that makes customers feel more close and immediacy. For example, virtual reality, you can put on the specially designed glasses on, to sense the virtual world that is designed to see the ‘real situation’ you are feeling with, such as the experiences of the universe.
Hence, by engaging with old media content, technology as a vehicle to transformed into the media resources makes sense to people’s life, more easily and interactive to connect with customers.
Henry Jenkins (2008) “Searching for the Origami Unicorn: The Matrix and Transmedia Storytelling in: Convergence Culture: Where Old Media and New Media Collide. New York: New York University Press, 93-130.
Jenkins, Henry. ““Cultural acupuncture”: Fan activism and the Harry Potter alliance.” Popular Media Cultures. Palgrave Macmillan UK, 2015. 206-229.