Dunford / Jenkins Digital Storytelling

Form and Content
1. Auflage 2017
ISBN: 978-1-137-59152-4
Verlag: Palgrave Macmillan UK
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, 244 Seiten

This edited collection brings together academics and practitioners to explore the uses of Digital Storytelling, which places the greatest possible emphasis on the voice of the storyteller. Case studies are used as a platform to investigate questions of concept, theory and practice, and to shine an interrogative light on this emergent form of participatory media. The collection examines the creative and academic roots of Digital Storytelling before drawing on a range of international examples to consider the way in which the practice has established itself and evolved in different settings across the world.

Mark Dunford is an academic and researcher who has held senior roles in a number of UK Universities including University of Brighton, Goldsmiths and University of East London where he was an Associate Dean in the School of Arts and Digital Industries.  
Tricia Jenkins is a researcher and digital storytelling facilitator who also works with Insightshare Participatory Video company and is a lecturer at Goldsmiths, University of London, UK. 
In 2008, Mark and Tricia established DigiTales, a research company specialising in Digital Storytelling and participatory media. The company is hosted by Goldsmiths, University of London, UK.

Autoren/Hrsg.

Dunford, Mark

Jenkins, Tricia

Inhaltsverzeichnis

1;Acknowledgements;5
2;Contents;6
3;Editors and Contributors;9
4;List of Figures;11
5;Chapter 1 Form and Content in Digital Storytelling;12
5.1;What We Mean When We Talk About Digital Storytelling;14
5.2;Practitioner Perspectives, Theoretical Positionings: And the Spaces in Between;16
5.3;Part One: Practice;17
5.4;Part Two: Content;18
5.5;Part Three: Form;20
5.6;Part Four: Understanding;22
5.7;Concluding Thoughts;24
5.8;References;26
6;Part I Practice;29
7;Chapter 2 The Central Role of Practice in Digital Storytelling;30
7.1;An Open Source Social Change Technology;31
7.2;The Evolution of New Practices;32
7.3;Practice Along a Continuum;33
8;Chapter 3 My Story from Kibera;36
8.1;Arrival;36
8.1.1;Programme;37
8.1.2;Publicity and Communications;37
8.2;Ndugu Mdogo Boys;38
8.3;Premises and Equipment;38
8.3.1;Day One;38
8.3.2;Day Two;39
8.3.3;Day Three;39
8.3.4;Day Four;40
8.3.5;Post-Production;41
8.4;The Red Carpet Event;41
8.5;Conclusions;42
9;Chapter 4 One Million Life Stories;44
10;Chapter 5 Collaborating with Other Artforms. History in Our Hands: A Long-Term Storytelling Project with Older People;49
11;Chapter 6 Digital Storytelling in Multicultural Singapore;56
11.1;Digital Storytelling Comes to Singapore;56
11.2;A Nation-Sized Dream;57
11.3;A Journey of Experimentation;57
11.4;A Conversation on Public Space;58
11.5;Collective Storytelling: Giving Voice to the Marginalised;59
11.6;The Hero’s Journey: Helping Prison Inmates “Rehab, Renew, Restart”;59
11.7;Storytelling for Businesses: Humanising the Workplace;60
11.8;Scaling up Digital Storytelling;61
11.9;Connecting Youth and Senior Citizens;61
11.10;An Educator’s Insights;62
11.11;Conclusion;62
12;Chapter 7 Digital Storytelling with Users and Survivors of the UK Mental Health System;64
12.1;Introduction;64
12.2;Background;65
12.3;Developing Our Process;65
12.4;Dignity and Respect;66
12.5;The First Workshop: November 2011;67
12.6;What’s Changed?;71
12.7;Working with Mental Health Service Users Is Different;71
12.8;Conclusion;72
12.9;References;73
13;Part II Content;77
14;Chapter 8 Digital Storytelling for Women’s Well-being in Turkey;78
14.1;Story Workshops with Women;78
14.2;Stories Women are Made Of;79
14.3;Well-being Under Pressure: Women’s Coalition Digital Stories;81
14.4;A Virtual Room for Oneself;86
14.5;Conclusion: Coalition of Stories;88
14.6;References;91
15;Chapter 9 Going Beyond “the Moment”: Towards Making the “Preferably Unheard” Malaysian Sexual Minorities Heard;94
15.1;Introduction;94
15.2;The Power of Narratives;96
15.3;Going “Beyond the Moment”: Two Case Studies from Malaysia;98
15.3.1;Shaving;99
15.3.2;Confessions of an Ex-Homophobe;100
15.4;Conclusion;102
15.5;References;104
16;Chapter 10 The Afterlife of Capture Wales: Digital Stories and Their Listening Publics;108
16.1;Capture Wales;109
16.2;Listening in the Story Circle;112
16.3;Wider Listening Publics for Capture Wales;115
16.4;Legacies of Listening to Capture Wales;119
16.5;References;121
17;Chapter 11 The Ethics, Aesthetics and Practical Politics of Ownership in Co-creative Media;124
17.1;IP “Best Practice” in Co-creative Media;125
17.2;Digital Storytelling Best Practice and the Ethics of Ownership;128
17.3;IP Management Practices and Issues;132
17.4;Concluding Comments;135
17.5;References;138
18;Part III Form;141
19;Chapter 12 From the Pre-story Space: A Proposal of a Story Weaving Method for Digital Storytelling;142
19.1;Background and Objectives;142
19.2;Photo Karuta;143
19.3;Workshop Method;144
19.3.1;Effectiveness of the Workshop Design;147
19.4;Media Conte;148
19.4.1;Basic Workshop Method;148
19.4.2;The “Combining Photos into Stories” Game;150
19.4.3;Interview Time with Sticky Notes;151
19.4.4;Storytelling by Five Picture Cards;151
19.4.5;Storyboard Productions and Editing;152
19.4.6;Preview and Media Coverage;152
19.5;Workshop Findings;152
19.6;Problems;154
19.7;Conclusion: The Story Generating Model from the Pre-story Space;154
19.8;Note;155
19.9;References;156
20;Chapter 13 Exploring the Potential of Digital Stories as Tools for Advocacy;158
20.1;Exploring the Use of Digital Storytelling as an Advocacy Tool;163
20.2;Conclusions and Discussions;166
20.3;References;167
21;Chapter 14 Reconceptualising Digital Storytelling: Thinking Through Audiovisual Inquiry;169
21.1;Introduction;169
21.2;Embodying the Object;170
21.3;Connecting DS to the Documentary Arts;174
21.4;An Arena of Inquiry;176
21.5;Conclusion;179
21.6;References;182
22;Part IV Understanding;185
23;Chapter 15 Making Emotional and Social Significance: Digital Storytelling and the Cultivation of Creative Influence;186
23.1;Unexpected Stories and Emotional Worlds;187
23.2;Making Emotional Significance;192
23.3;Re-making the Social;197
23.4;Creative Influence and Social Engagement;201
23.5;References;203
24;Chapter 16 Smiling or Smiting?—Selves, States and Stories in the Constitution of Polities;204
24.1;Smiling and Smiting;204
24.2;Smiling Selves;207
24.3;Smiting States;209
24.4;Polities: Demes;212
24.5;The Origins of Smiting;215
24.6;The Growth of Knowledge;217
24.7;Selfie State?;220
24.7.1;Personal Stories—but What Is a Person?;220
24.7.2;Scholarly Stories;221
24.7.3;The GG Solution: “Foolishly Underrated”;222
24.7.4;“Wake up Everybody”;224
24.8;References;226
25;Chapter 17 Therapy, Democracy and the Creative Practice of Digital Storytelling;229
25.1;Introduction;229
25.2;Discourses of Therapy and Democratisation are at the Heart of Digital Storytelling Practice;230
25.3;Productive Tension between the Two Discourses Accounts for the Appeal of Digital Storytelling;235
25.4;Limiting our Understanding of Digital Storytelling to Identifying Discourses of Therapy and Democracy is Reductive;236
25.5;Conclusion: Creativity, Therapy and Democracy;237
25.6;References;239
26;Index;241