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Story Circle: Digital Storytelling around the World
Abstract
Story Circle is the first collection ever devoted to a comprehensive international study of the digital storytelling movement, exploring subjects of central importance on the emergent and ever-shifting digital landscape.
- Covers consumer-generated content, memory grids, the digital storytelling youth movement, participatory public history, audience reception, videoblogging and micro documentary
- Pinpoints who is telling what stories where, on what terms, and what they look and sound like
- Explores the boundaries of digital storytelling from China and Brazil to Western Europe and Australia
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... These stages include activities such as developing story concepts and scripts, gathering media resources and importing and editing media files that contain voiceovers, audio, and still images (Adams et al., 2008;Meadows, 2003;Midge Frazel, 2010). In addition, Hartley and McWilliam's (2009) research on Sara Kajder and the team steps includes the following: i) planning and setting up ii) Drafting the first version of the script. iii) Create a storyboard to accompany it; iv) discuss and modify the script; sequence the images in the video-editing software; add the narrative track; add the special effects; and add the music; v) post-production and distribution. ...
... iii) Create a storyboard to accompany it; iv) discuss and modify the script; sequence the images in the video-editing software; add the narrative track; add the special effects; and add the music; v) post-production and distribution. Few industry professionals consider the production of storyboards to be a crucial stage, even if the process of making storyboards involves the illustration of a narrative (Carolyn Handler Miller, 2019;Hartley & Mcwilliam, 2009;Ohler, 2013). Ohler (2013), on the other hand, provided more in-depth phases, which included the integration of media and communication, as well as the planning phase and technical considerations. ...
... Besides that, create a relaxed, trusting atmosphere through storytelling exercises to give people the confidence to tell their own stories and give people the tools to turn their personal stories into a script. It has been emphasised that processes such as development, story planning phase, planning and setup and define, collect and decide had similar characteristics as starting a digital story from the author's life that serves as the basis for a captivating story question; it defines the story question and shapes the narrative (Carolyn Handler Miller, 2019;Hartley & Mcwilliam, 2009;Ohler, 2013;Robin, 2008). It is established that the process of 'workshop' is the most cited by scholars and considered important as it contributes towards the overall digital storytelling familiarity in experiencing multimedia content. ...
This research aims to identify, through various experts and scholars, of established digital storytelling process. The museum's environment has seen a substantial shift. Technology has allowed new engagement, visitor expectations have increased, rivalry for time and resources has risen, and buildings now serve more complex functions. There is no sign of a digital storytelling guideline for curators in Malaysia, even though digital storytelling has begun to emerge. Using content analysis, qualitative research methodology was employed. This finding establishes four primary processes and eight subprocesses for digital storytelling among experts and scholars. Keywords: digital storytelling; process; museum exhibition; curator eISSN 2514-751X © 2022. The Authors. Published for AMER & cE-Bs by e-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under the responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers and cE-Bs (Centre for Environment-Behaviour Studies), College of Built Environment, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/aje-bs.v7i23.415
... But this shift seemed novel, felt momentous, and we knew we were not alone; publications such as Doing Fieldwork in a Pandemic (Lupton, 2020) emerged, to support participants as well as researchers endeavouring to move forward. In myriad ways, we were to learn that digital storytelling uses computational power to facilitate human contact (Hartley & McWilliam, 2009), including affording a platform to those voices that often go unheard (Burgess, 2006). Digital storytelling, described as an arts-based research method gaining momentum in qualitative health research (Beltrán & Begun, 2014;Lang et al., 2019;Rieger et al., 2021), played a role in our study from the outset. ...
... However, these issues were aligned with the participant themselves and not due to region-specific (rural and/or remote) technological challenges. As Hartley and McWilliam (2009) remind us, everyone loves a story, but not everyone loves a computer. This participant also commented that they felt their journey with MAiD had reached a level of closure they felt did not need further exploration, and that their contribution in phase one stood alone in its ability to disseminate knowledge about their experience. ...
The purpose of our qualitative health research study was to understand the experiences of Ontarians who accompanied someone throughout their dying process using medical assistance in dying (MAiD). The second phase used digital stories as a method to examine and share these experiences at the end of life. And then the COVID-19 pandemic hit, and we faced a pivot to our original plan. This pivot resulted in reinforcing the myriad benefits of using digital storytelling in qualitative health research. And rather than detracting from the initial study, we also learned that digital storytelling is a flexible method that can be creatively, compassionately, and effectively conducted in virtual spaces. We will employ digital storytelling in future qualitative health research as both a component of studies but also as a conduit for explorations of other tools of data collection and dissemination.
... According to Vasudevan and colleagues (2010), since DST gives students the 1 DST originated at the Centre for Digital Storytelling in California in the early nineties, with Joe Lambert and Dana Atchley as one of the founding fathers (see http://www.storycenter.org/ for more information), and has for a long time been connected to informal workshops and story circles (Hartley & McWilliam, 2009). Only quite recently some educators have started to adopt DST for the purpose of creating new learning environments in school (Lowenthal, 2009). ...
... As critical thinking skills are crucial for interpreting the literary works and reading literary works encourages the development of critical thinking skills, literature teachers are required to find proper ways of their promotion and implementation in an online context. In both traditional (campus-based) and online literature courses critical thinking can be promoted through using multimedia contents in the form of digital storytelling (Ohler, 2008;Hartley and McWilliam, 2009;Robin and McNeil, 2012;Brenner, 2014;Robin, 2016; Ibarra-Rius and Ballester-Roca, 2019), blogs (Reimer, 2016;Giralt and Murray, 2019) and book-trailers (Tabernero and Calvo, 2016). Language platforms and forum discussions are another efficient means of developing critical skills and presenting and interpreting the contents of literary works, so they can be successfully used in online literature courses (Škobo, 2020, p. 6;Škobo and Sentov, 2020). ...
The aim of this paper is to determine the quality and nature of online Anglo-American literature courses at tertiary education level in Serbia, with the special focus on ad hoc solutions regarding the course management and design, as there was no history of conducting online literature courses prior to the COVID-19 outbreak. This pilot study predominanlty relies on the quantitative research based on the analysis of a corpus consisting of a survey questionnaire composed of 10 closed-ended questions distributed to 35 Anglo-American literature teachers at several state and private universities in Serbia. The teachers' answers were analyzed and classified into 4 categories according to the common denominator: online literature course management (1), teacher student interaction (2), challenges of teaching literature online (3), and online tools used (4).
... In establishing the Centre, they combined their skills in media production and the arts to create stories using digital technology (Lambert, 2009). Drawing heavily on cultural democracy and the power of stories to create change (Hartley & McWilliam, 2009), their approach primarily involves workshops which include story sharing and feedback, script work and image preparation, recording scripts, digital editing, and story screening. This method aligns with the visual revolution, where multimedia consumption, creation, and sharing have significantly influenced how people cognitively process and understand information. ...
Digital storytelling aims to illuminate complex narratives of health and illness when used as a method in health research. Digital stories are three to five minute videos that integrate written and narrated stories with multiple aesthetic components. There is increasing interest in digital storytelling as a research method, yet there is limited synthesized knowledge about its use. A systematic review to advance methodological understanding was warranted. Our systematic review purpose was to identify and synthesize evidence on the use, impact, and ethical considerations of digital storytelling as a method in health research. Key databases and online sources were searched for qualitative, quantitative, and mixed methods studies using digital storytelling. Articles with pediatric or adult populations, family members, or healthcare professionals were included. The focus was on digital storytelling in health research, where it was used as a method, at any point in the research process. Two independent reviewers screened abstracts and full texts to confirm eligibility. We conducted a narrative synthesis of the extracted narrative data. The searches yielded 7285 articles. Following the removal of duplicates and screening, 46 articles met the inclusion criteria, which predominantly used qualitative methodology. An analysis of the extracted data resulted in seven descriptive themes which provided insight into the purpose, definition, process, context, impact and ethical considerations of this method. Digital storytelling is an empowering and disruptive method that captures voice through a process-oriented, flexible approach. It is particularly effective at honouring local and cultural knowledge, and evoking change. Researchers have used consistent facilitation approaches, but theoretical inconsistency, diverse positioning in analysis, and ethical complexity remain significant challenges. These findings provide methodological insight for applying digital storytelling in future research. Systematic review protocol registration: CRD42017068002.
... Digital storytelling enabled people to tell, capture and disseminate their personal stories through a combination of voice, text and still image. Digital stories are typically 2-3 min in length and shared through community-based screening events, exhibitions and via web-based platforms (see Hartley and McWilliam, 2009;Lambert, 2002). The creation of a digital story is a form of 'slow' storytelling, focusing on storytelling as a reflective process (Wilson, 2021). ...
We present novel co-created transdisciplinary research that uses arts and humanities methods to explore air pollution in an informal settlement (Mukuru) in Nairobi, Kenya. Air pollution is a well-documented major human health issue, but despite many air pollution reduction interventions designed to improve health, these are frequently ineffective. Often this is because they fail to account for local knowledge, cultural practices and priorities of the intended recipients. Designing solutions therefore requires in-depth exploration of relevant issues with stakeholders. Researchers worked collaboratively with local residents to develop a range of methods to explore understandings of air pollution including interviews, storytelling, participatory mapping and theatre. Together, we uncovered contrasting definitions of air pollution, differing perceptions of who was responsible for enacting solutions, and overall a view that air pollution cannot be seen in isolation from the other issues faced by settlement residents. The methods used also allowed us to communicate about the topic with a wide audience. While we acknowledge that this research approach is more time consuming than traditional approaches, we urge other researchers wishing to address multifactorial problems, such as air pollution to use a mixture of qualitative, participatory and creative methods to engage with a wide range of stakeholders to elicit new and unexpected understandings that may not otherwise emerge.
This study aims to examine the experiences of pre-service teachers during an online workshop-based digital storytelling course and determine their preferred tools for creating digital stories. The study presents a model guided by the ADDIE instructional design approach and workshop-based digital storytelling methodologies proposed by the Story Center. A total of 31 pre-service teachers voluntarily participated in this study, utilizing a combination of asynchronous and synchronous modes of online learning. The findings indicate that this approach allowed pre-service teachers to be more effective and efficient in their work. They reported satisfaction with the tools used throughout the process as they facilitated communication and enhanced workflow. Additionally, engaging in collaboratively group-based workshops enabled them to express themselves more easily while fostering better mutual understanding among participants.
ABSTRAK Penelitian ini bertujuan untuk memahami motif para mahasiswa membuat posting ekspresi diri yang identik dengan brand Universitas Universal (UVERS), memahami bagaimana ekspresi diri para mahasiswa tersebut membangun brand awareness Universitas Universal (UVERS), dan alasan para mahasiswa memilih Instagram untuk melakukan ekspresi diri. Penelitian kualitatif ini menggunakan metode Kualitatif Deskriptif dengan menerapkan teknik pengumpulan data focus group discussion (FGD), teknik wawancara, observasi, hingga pengumpulan data dokumen, visual, dan audio. Temuan yang didapatkan melalui penelitian ini adalah para mahasiswa memiliki motif untuk memperkenalkan kegiatan dan nilai-nilai Universitas Universal (UVERS) di setiap ekspresi dirinya di Instagram. Sedangkan brand awareness Universitas Universal (UVERS) dapat terbentuk dengan SoMe storytelling branding atau Citizen Public Relations yang dilakukan oleh para mahasiswa. Kemudian para mahasiswa juga tertarik menggunakan Instagram karena kelebihan Instagram untuk surveillance, documentation, creativity, dan coolness. Kata Kunci : Motif, Brand Awareness, SoMe Storytelling Branding, Citizen Public Relations. ABSTRACT This study aims to understand the motives of students to post self expression that is identic to the Universal University (UVERS) brand, understanding how the student self expression builds Universal University (UVERS) brand awareness, and their reason chose Instagram to do self expression. This qualitative research uses descriptive qualitative method by applying focus group disscussion (FGD) data collection techniques, interview techniques, observation, and collecting document, visual, and audio data. The findings obtained through this study are that students have a motive to introduce the Universal University (UVERS) activities and values in each expression of themselves on Instagram. While, Universal University (UVERS) brand awareness can be formed with SoMe storytelling branding or Citizen Public Relations conducted by students. Then the students are also interested in using Instagram because of the advantages of Instagram for surveillance, documentation, creativity, and coolness. Keywords : Motives, Brand Awareness, SoMe Storytelling Branding, Citizen Public Relations.
This study aims to investigate pre-service teachers’ reception of digital stories created by teachers in teacher education. Furthermore, it investigates how their professional self-understanding is developed based on the meanings they infer from the digital stories. This study is based on qualitative research, using the reception methodology. Accordingly, 15 pre-service teachers watched 27 digital stories. Data were collected through semi-structured focus group interviews and participants’ observation notes, which were analysed through content analysis. The results showed that the pre-service teachers developed professional self-understandings about self-image, self-esteem, task perception, and job motivation for their future careers. The reception process using digital stories helped them develop their future professional self-understanding by examining their own teaching experiences, teachers’ education, and teachers’ professional experiences as well as by making connections and gaining insights into the incidents of in the digital stories. Also, the reception process allowed reflection, the transfer of practical knowledge, and narrative learning development in pre-service teachers’ professional self-understanding. Thus, this reception process contributed to the professional development of the pre-service teachers.
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