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Listen deeply. Tell stories. This is the mantra of the Center for Digital Storytelling (CDS) in Berkeley California, which, since 1998 has worked with nearly 1,000 organizations around the world and trained more than 15,000 people in the art of digital storytelling. In this revised and updated edition of the CDS's popular guide to digital storytelling, co-founder Joe Lambert details the history and methods of digital storytelling practices. Using a "7 Steps" approach, Lambert helps storytellers identify the fundamentals of dynamic digital storytelling--from seeing the story, assembling it, and sharing it. As in the last edition, readers of the fourth edition will also find new explorations of the applications of digital storytelling and updated appendices that provide resources for budding digital storytellers, including information about past and present CDS-affiliated projects and place-based storytelling, a narrative-based approach to understanding experience and landscape. A companion website further brings the entire storytelling process to life. Over the years, the CDS's work has transformed the way that community activists, educators, health and human services agencies, business professionals, and artists think about story, media, culture, and the power of personal voice in creating change. For those who yearn to tell multimedia stories, Digital Storytelling is the place to begin.
The first professional book to explore and analyze digital storytelling across interactive media and genres this book examines how digital storytelling draws on classic narrative techniques and utilizes interactive digital technologies to create today's entertainment. Digital Storytelling explains key strategies for conveying narrative through digital technologies, based on personal experience and numerous case studies, providing project managers, interactive content designers, and writers with the tools necessary for planning a successful interactive project, including ideas for product development and conceptualization. Detailed planning processes for all types of interactive projects are discussed, including videogames, massively multiplayer online games, the Internet, interactive TV, cross-media productions, smart toys, virtual reality, immersive environments, wireless devices, kiosks, and DVDs. The book also covers topics such as: structure, characters and emotions; tackling projects for children; finding work and staying employed; and more. Miller has written Digital Storytelling for the professional and the student, and details what interactive content developers and project managers need to know in a clear, enthusiastic manner. *Covers case studies, providing numerous ideas for creating and managing engrossing, interactive entertainment products from development to production *Explains the uses of digital storytelling for both entertainment and entertainment blends -- projects that teach, inform, and promote *Takes an international approach to digital entertainment, exploring ground-breaking projects in Asia, Africa and Europe as well as in North America
Newly revised and updated, this is the essential guide to state-of-the-art digital storytelling for audiences, creators, and teachers. • Documents how digital storytelling has become an international movement, with vibrant communities of practice, ever-developing ideas, and growing appeal • Captures the full depth and breadth of the history and present of digital storytelling, while also offering practical tips for getting started making stories • Incorporates a plethora of digital technologies, from video to augmented reality, and mobile devices to virtual reality • Points out that digital storytelling has a variety of uses and encompasses a growing diversity of technologies, even as it becomes ever more accessible to everyday creators
Digital Storytelling is a tool that was created to integrate the newest technology in the classroom. It has proven to be a powerful tool indeed. It is said that the reason for its power lies with the type of students we teach each day in our schools. Students today are multi-taskers, creative, and visual learners. They have grown up in a world of multimedia and respond to audio-visual in positive ways. Given the opportunity to tell their stories using digital storytelling models, they are transformed into self-motivated information consumers. Our job, as educators, becomes one of utilizing their natural gravitation to technology to fit our purposes of teaching state and national standards.
Provides information on integrating digital storytelling into curriculum design.
How digital visual effects in film can be used to support storytelling: a guide for scriptwriters and students. Computer-generated effects are often blamed for bad Hollywood movies. Yet when a critic complains that "technology swamps storytelling" (in a review of Van Helsing, calling it "an example of everything that is wrong with Hollywood computer-generated effects movies"), it says more about the weakness of the story than the strength of the technology. In Digital Storytelling, Shilo McClean shows how digital visual effects can be a tool of storytelling in film, adding narrative power as do sound, color, and "experimental" camera angles—other innovative film technologies that were once criticized for being distractions from the story. It is time, she says, to rethink the function of digital visual effects. Effects artists say—contrary to the critics—that effects always derive from story. Digital effects are a part of production, not post-production; they are becoming part of the story development process. Digital Storytelling is grounded in filmmaking, the scriptwriting process in particular. McClean considers crucial questions about digital visual effects—whether they undermine classical storytelling structure, if they always call attention to themselves, whether their use is limited to certain genres—and looks at contemporary films (including a chapter-long analysis of Steven Spielberg's use of computer-generated effects) and contemporary film theory to find the answers. McClean argues that to consider digital visual effects as simply contributing the "wow" factor underestimates them. They are, she writes, the legitimate inheritors of film storycraft.
Digital storytelling clearly stands out as an exciting and captivating approach to use for both the teaching and practice of digital literacy, media literacy, and visual literacy skills. The exciting potential behind its use in the teaching of English to speakers of other languages (TESOL) is its ability to give a voice to those students who might come and sit quietly in class and rarely have a chance to speak. Success with digital stories therefore comes when students are empowered with the ability to talk about and make meaning from their life experiences. The pedagogical possibilities offered through the use of digital storytelling are presented while providing an overview of instructional strategies, tasks, and activities suitable for narrative development with second-language learners of English. Tutorials on how to get started with digital storytelling creation tools are included, along with photocopiable handouts and templates, evaluation techniques, and a comprehensive list of a wide variety of resources.
Recent years have seen amateur personal stories, focusing on «me», flourish on social networking sites and in digital storytelling workshops. The resulting digital stories could be called «mediatized stories». This book deals with these self-representational stories, aiming to understand the transformations in the age-old practice of storytelling that have become possible with the new, digital media. Its approach is interdisciplinary, exploring how the mediation or mediatization processes of digital storytelling can be grasped and offering a sociological perspective of media studies and a socio-cultural take of the educational sciences. Aesthetic and literary perspectives on narration as well as questioning from an informatics perspective are also included.
This fourth edition of Digital Storytelling: A creator's guide to interactive entertainment dives deeply into the world of interactive storytelling, a form of storytelling made possible by digital media. Carolyn Handler Miller covers both the basics – character development, structure and the use of interactivity – and the more advanced topics, such as AI (Artificial Intelligence), narratives using AR and VR, and Social Media storytelling. The fourth edition also includes a greatly expanded section on immersive media, with chapters on the exciting new world of the world of XR (AR, VR, and mixed reality), plus immersion via large screens, escape rooms and new kinds of theme park experiences. This edition covers all viable forms of New Media, from video games to interactive documentaries. With numerous case studies that delve into the processes and challenges of developing works of interactive narrative, this new edition illustrates the creative possibilities of digital storytelling. The book goes beyond using digital media for entertainment and covers its employment for education, training, information and promotion, featuring interviews with some of the industry’s biggest names. Key Features: A large new section covering various forms of immersive media, including VR, AR and Mixed Reality Breakthroughs in interactive TV and Cinema The use of VR, AR and mixed reality in gaming New forms of voice-enabled storytelling and gaming Stories told via mobile apps and social media Developing Digital Storytelling for different types of audiences
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.
Story Circle is the first collection ever devoted to acomprehensive international study of the digital storytellingmovement, exploring subjects of central importance on the emergentand ever-shifting digital landscape. Covers consumer-generated content, memory grids, the digitalstorytelling youth movement, participatory public history, audiencereception, videoblogging and microdocumentary Pinpoints who is telling what stories where, on what terms, andwhat they look and sound like Explores the boundaries of digital storytelling from China andBrazil to Western Europe and Australia
This book constitutes the refereed proceedings of the Third International Conference on Technologies for Interactive Digital Storytelling and Entertainment, TIDSE 2006, held in Darmstadt, Germany in December 2006. It contains 37 papers that cover a broad spectrum, from conceptual ideas, theories, and technological questions, to best practice examples in the different storytelling application domains, with a focus on entertainment and games.
Digital Storytelling, Applied Theatre, & Youth argues that theatre artists must re-imagine how and why they facilitate performance practices with young people. Rapid globalization and advances in media and technology continue to change the ways that people engage with and understand the world around them. Drawing on pedagogical, aesthetic, and theoretical threads of applied theatre and media practices, this book presents practitioners, scholars, and educators with innovative approaches to devising and performing digital stories. This book offers the first comprehensive examination of digital storytelling as an applied theatre practice. Alrutz explores how participatory and mediated performance practices can engage the wisdom and experience of youth; build knowledge about self, others and society; and invite dialogue and deliberation with audiences. In doing so, she theorizes digital storytelling as a site of possibility for critical and relational practices, feminist performance pedagogies, and alliance building with young people.
A must-read for incorporating digital literacy into your classroom! Equip your students with essential 21st-century media literacy skills, as they read, write, speak, and create art within the context of digital storytelling, and reach deeper understandings in all areas of the curriculum! In this second edition, both novice and technologically adept K-12 educators will find: Practical techniques to combine storytelling with curriculum content Tips for exploring effective storytelling principles through emerging digital media as well as via traditional literacy skills in reading, writing, speaking, and art Visual aids and video clips that illustrate best practices in media composition
Although storytelling has been recognized as an effective instructional strategy for some time, most educators are not informed about how to communicate a story that supports learning—particularly when using digital media. The Instructional Value of Digital Storytelling provides a broad overview of the concepts and traditions of storytelling and prepares professors, workplace trainers, and instructional designers to tell stories through 21st century media platforms, providing the skills critical to communication, lifelong learning, and professional success. Using clear and concise language, The Instructional Value of Digital Storytelling explains how and why storytelling can be used as a contemporary instructional method, particularly through social media, mobile technologies, and knowledge-based systems. Examples from different sectors and disciplines illustrate how and why effective digital stories are designed with learning theory in mind. Applications of storytelling in context are provided for diverse settings within higher education as well as both formal and informal adult learning contexts.
The Action Stations series books show both why and how teachers can practically and meaningfully use new technologies in their classroom to develop digital literacy, analytical and thinking skills. Digital Storytelling contains lesson plans, templates, proformas and a toolkit of resources for exploring the language and conventions of video, producing and presenting students' own short films.
This book offers an overview of digital storytelling as well as its
This book constitutes the refereed proceedings of the Third International Conference on Interactive Digital Storytelling, ICIDS 2010, held in Edinburgh, UK, in November 2010. The book includes 3 keynotes, 25 full and short papers, 11 posters, 4 demonstration papers, 6 workshop papers, and 1 tutorial. The full and short papers have been organized into the following topical sections: characters and decision making; story evaluation and analysis; story generation; arts and humanities; narrative theories and modelling; systems; and applications.

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