尽管上述争论仍没完没了,但新一波科技进步意味着孩子们越来越难预留出阅读时间。科技帮助人类从书籍中获得了快乐————背光式电子阅读器意味着无需再拿着手电趴在被窝中看书——但它也帮助了其它媒介。过去坐火车长时间旅行意味着可以长时间读书或是眺望窗外美景。如今有了iPad,长途旅行意味着玩电脑游戏以及补看前一天晚上的电视节目。
One option for publishers is to follow the music industry, encouraging authors to do even more events and engage more with social media so as to create “touchpoints” with their fans. Another is to adapt the books themselves. Interactive ebooks already offer multiple endings (a digital variation on the theme of “if you choose door A, turn to page 78”), and publishers are investing in apps that seek to lure infrequent readers with video and audio embellishments.
出版商的选择之一就是步音乐产业之后尘,鼓励作家参与更多活动,与社交媒体打更多交道,以便创造粉丝“点击量”;另一种选择则是自己改编图书。交互式电子书籍已经提供多种结局可能(如数字式主题变更:“若选A门,请翻至第78页”),出版商已出资开发了多款应用软件,它们用润色过的视频及音频来努力吸引不太读书的读者。
“There’s very much an experimental attitude at the moment,” says Jake Manion, creative director at animation company Aardman, which worked on HarperCollins’s The Hobbit app. “Smartphones haven’t been around that long and people are still writing the stories in the way they’ve always done.” The biggest change, Manion argues, will come in “five to 10 years”, by which point writers will be “so familiar with the technology that they’ll be creating stories in different ways”.
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