Digital Storytelling

Capturing Lives, Creating Community
Routledge (Verlag)
  • 5. Auflage
  • |
  • erschienen am 4. Mai 2018
  • |
  • 234 Seiten
E-Book | ePUB mit Adobe DRM | Systemvoraussetzungen
978-1-351-26634-5 (ISBN)

In this revised and updated edition of the StoryCenter's popular guide to digital storytelling, StoryCenter founder Joe Lambert offers budding storytellers the skills and tools they need to craft compelling digital stories. Using a "Seven Steps" approach, Lambert helps storytellers identify the fundamentals of dynamic digital storytelling - from conceiving a story, to seeing, assembling, and sharing it. Readers will also find new explorations of the global applications of digital storytelling in education and other fields, as well as additional information about copyright, ethics, and distribution. The book is filled with resources about past and present projects on the grassroots and institutional level, including new chapters specifically for students and a discussion of the latest tools and projects in mobile device-based media. This accessible guide's meaningful examples and inviting tone makes this an essential for any student learning the steps toward digital storytelling.

5. Auflage
  • Englisch
  • Milton
  • |
  • Großbritannien
Taylor & Francis Ltd
  • Für höhere Schule und Studium
  • Neue Ausgabe
  • 2,17 MB
978-1-351-26634-5 (9781351266345)
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Joe Lambert founded the Center for Digital Storytelling (now StoryCenter) in 1994. He and his colleagues developed a computer training and arts program known as the digital storytelling workshop. Joe and his staff have traveled the world to spread the practice of digital storytelling, to all 50 U.S. states and some 48 countries. Lambert is author of Seven Stages: Story and the Human Experience (Digital Diner Press). In 2017, he celebrated his 34th year as an Executive Director of StoryCentre, having evolved his work in the 1980s in the performing arts to work in digital storytelling and media education in the 1990s.

Brooke Hessler is Director of Learning Resources at California College of the Arts, where she teaches multimodal inquiry and writing. Her scholarship has appeared in the International Journal of the Scholarship of Teaching and Learning, Community Literacy Journal, Writing Groups Inside and Outside the Classroom, A Guide to Composition Pedagogies, and Digital Storytelling in Higher Education: International Perspectives, among other journals and collections. An award-winning instructor of media arts-integrated courses, her digital story work has included long-term collaborations with K-16 educators, community arts activists, museums, and survivors of natural disasters and domestic terrorism.
  • Digital Storytelling - Front Cover
  • Digital Storytelling
  • Title Page
  • Copyright Page
  • Dedication
  • Contents
  • Foreword
  • Acknowledgments
  • Introduction
  • How to Use This Book
  • Story in the Eye of the Storm
  • The Movement Matures
  • Finding Home
  • Chapter 1: The Work of Story
  • The Biology of Story
  • The Hollywood Century and the American Myth
  • Our Ordinary Stories Become Extraordinary Journeys
  • Story Work in the Age of Media Ubiquity
  • Reframing Our Personal Myths
  • Chapter 2: Stories of Our Lives
  • Infoglut
  • De-storification
  • The Editor
  • The Good Consumer Habit
  • Kinds of Personal Stories
  • Don't Just Sit There
  • Interlude 1: The Legacy of Tanya
  • Thoughts by Joe Lambert
  • Chapter 3: A Road Traveled: The Evolution of the Digital Storytelling Practice
  • Story, Folk Songs, and the American Tradition of Celebrating Lives Lived
  • The Texan Gets Baptized in the Revolution
  • Life and Life On The Water
  • The Colorado Spaceman Exits in San Francisco
  • An Exit Called Hollywood: 1993 at the American Film Institute
  • Inspirations and Transformations
  • From the Roadside Diner, the Circus Hits the Road
  • Digital Storytelling Goes to the University
  • Death and Decision, Health and Healing
  • The Promise
  • Chapter 4: The World of Digital Storytelling
  • Defining the Digital Story
  • The Taxonomy of Media Practices
  • Approaches to Content in Digital Storytelling
  • Approaches to the Production Process in Digital Storytelling
  • Interlude 2: Wynne's Story
  • Thoughts by Daniel Weinshenker
  • Chapter 5: Seven Steps of Digital Storytelling
  • Step 1: Owning Your Insights
  • Step 2: Owning Your Emotions
  • Step 3: Finding the Moment
  • Step 4: Seeing Your Story
  • Step 5: Hearing Your Story
  • Step 6: Assembling Your Story
  • Step 7: Sharing Your Story
  • Chapter 6: The Story Circle
  • Facilitating the Digital Storytelling Workshop
  • The Symphony of Sharing Lives - a Story
  • Approaches to Facilitation
  • A Small Miracle
  • The Workshop Process Unpacked
  • Software Tutorial and Production
  • A Sacred Trust
  • Chapter 7: To Students: Getting Started in Digital Story Work: Mindsets and Methods
  • The Mindset of the Story Worker: Making Homework a Story-Worthy Experience
  • The Real Simple Guide to Creating a Digital Story
  • Interlude 3: Ilmiye's Story
  • Part I
  • Part II
  • Burcu's Thoughts
  • Note
  • Chapter 8: Approaches to the Scripting Process: Prompts and Processes
  • Our Friend, the 4 × 6 Index Card
  • Writing Exercises
  • These Stories From These Pictures
  • Getting Into the Scene
  • Character Studies and Personal Story
  • Interviewing
  • Interviewing Techniques
  • Fragments of Understanding
  • Finally, a Few Words on Style
  • Chapter 9: The Walking Story Circle: Rethinking Digital Storytelling in the Era of Mobile Devices
  • A Bit of History
  • General Project Approaches and Curriculum
  • Integrating Mobile Devices Into the Traditional Model
  • The Walking Story Circle
  • Documenting Place as Service Learning
  • Study Abroad
  • Mobile Digital Storytelling and Participatory Journalism
  • The Tools
  • iOS Apps
  • Android Apps
  • Interlude 4: Areej's Story
  • Script
  • Thoughts by Nikoline
  • Chapter 10: Storyboarding
  • Recipe for Disaster
  • Making a Storyboard
  • Chapter 11: Designing in Digital: Working With Digital Imaging, Audio, and Video
  • Thinking Like a Designer
  • Robert Kershaw's "Camaro Boy"
  • One Picture Becomes Many Pictures
  • Working Within the Frame
  • Visual Pacing
  • Implicit Use of Images
  • Panning and Zooming
  • Barcelona Marathon - Design as Improvisation
  • The Visual Treatment
  • Final Note
  • Interlude 5: Nellie's Story
  • It Started With the Chair
  • Rani's Thoughts
  • Chapter 12: Distribution, Ethics, and the Politics of Engagement
  • The Genie Stays in the Bottle
  • The Explosion of Participatory Media Practices
  • Building an Ethics Framework From Documentary and Human Services Perspectives
  • In a World of Do-It-Yourself, Why Do Ethics Still Matter?
  • Chapter 13: Applications of Digital Storytelling
  • Telling an Organization's Story
  • Persuasion or a Prompt to Action
  • Reflective Practice
  • Health and Human Services
  • Intergenerational Connection
  • Disability
  • Youth Programs
  • Identity and Diversity
  • Activism
  • Immigrants and Refugees
  • International Development
  • K-12 and Higher Education Curricula
  • Scenario Planning/Futures Thinking
  • Professional Evaluation
  • Team Building
  • Journalism
  • Technology Training
  • Place and Planning
  • Conservation, Local Wisdom, and Environmental Justice
  • Story and the Makerspace: Libraries and Museums
  • The Future of Digital Storytelling
  • Interlude 6: Zahid's Story
  • Thoughts by Allison Myers
  • Chapter 14: Silence Speaks: Interview With Amy Hill
  • Chapter 15: Listening to Change: Stories From Alaska's Native Health Communities: Interview With Laura Revels
  • Note
  • Chapter 16: Humanizing Healthcare: A Conversation With Dr. Pip Hardy and Tony Sumner
  • Chapter 17: Transforming Education Through Story Work: A Conversation With Dr. Brooke Hessler
  • Addendum: Silence Speaks: Guidelines for Ethical Practice
  • Introduction
  • Section A: Core Principles
  • Section B: Ethics and the Digital Storytelling Workshop
  • Section C: Ethics When Sharing Digital Stories After a Workshop
  • Appendix: Digital Storyteller's Bill of Rights
  • Notes
  • Bibliography
  • Digital Storytelling
  • Storytelling, Story Work, and Public Speaking
  • Creative Writing and Autobiography
  • Counseling, Group Process, Facilitation
  • Design, Media and Applications
  • Storytelling and Education
  • Cognitive Theory, Psychology, and Narrative
  • Storytelling in Corporate and Organizational Contexts
  • Community Arts Practice
  • General
  • Index
"Our innermost and deepest stories often lie buried inside of us. Digital Storytelling is an artistic and technical guide to learning how to find those stories and tell them in the digital age. Hundreds of my students have used this deeply beautiful book to guide their own search and then assist community storytellers in creating stories of their own." -Nina Shapiro-Perl, American University

"Digital Storytelling is not your typical text for writing courses-it is a truly engaging history about storytelling that helps students connect to why we even tell stories. Storytelling is an art, and Lambert's text reflects this. I enjoy using Digital Storytelling to not only teach my students how to become comfortable with telling stories, but to also inspire me on how I approach my storytelling instruction.

The text covers the essential elements of storytelling via a storytelling circle that creates a safe environment for the most timid of students to participate in class. There are also plenty of astute examples and references for the students. For a book that averages about 200 pages, this is quite a feat. My students tell me this is a text they enjoy reading and applying the techniques the text offers them in order to help them craft stories with a enhanced sense of creativity and a can-do spirit. This is one of a small collection of texts that students typically do not sell back, instead they share and re-read their text when they need to rejuvenate future stories-some of which have gone on to win awards or shaped capstone texts and films at UHCL.

This text is a must for any storytelling course. Your students will thank you for making this their primary text for your course. This new edition updates some of the content to ensure the text remains contextually relevant to the field of storytelling and its related topics in the dynamic academic landscape of digital media communication.

Since 2002, Lambert has paid attention to our field and I now consider Lambert a formative researcher and instructor whose text is the go-to text to use when one wants to instruct an engaging course that promotes storytelling in a proactive and humanist manner. Additionally, students take note that the text has been in print since before the advent of digital media and has adapted to remain a text that stays true to the essential aspects of excellent storytelling instruction. Just read the interviews and examples and you will be hooked!" -Debra E. Menconi Clark, University of Houston Clear Lake

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