Story Circle Digital Storytelling Around the World~tqw~_darksiderg

316 Pages·2009·3.11 MB·English

Story Circle
Story Circle: Digital Storytelling Around the World Edited by John Hartley and Kelly McWilliam
© 2009 Blackwell Publishing ISBN: 978-1-405-18059-7
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Story Circle
Digital Storytelling Around the World
Edited by
John Hartley and Kelly McWilliam
A John Wiley & Sons, Ltd., Publication
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This edition first published 2009
© 2009 by Blackwell Publishing except for editorial material and organization © 2009 John Hartley
and Kelly McWilliam
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Library of Congress Cataloging-in-Publication Data
Story circle : digital storytelling around the world / edited by John Hartley & Kelly McWilliam.
p. cm.
Includes bibliographical references and index.
ISBN 978-1-4051-8059-7 (hardcover : alk. paper) – ISBN 978-1-4051-8058-0 (pbk. : alk. paper)
1. Interactive multimedia. 2. Digital storytelling. 3. Storytelling–Data processing. I. Hartley, John,
1948– II. McWilliam, Kelly.
QA76.76.I59S785 2009
006.7–dc22
2008045563
A catalogue record for this book is available from the British Library.
Set in 10.5/13pt Minion by SPi Publisher Services, Pondicherry, India
Printed in Singapore
001 2009
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Contents
List of Figures vii
List of Tables ix
Acknowledgments x
Notes on Contributors xii
Part I What Is Digital Storytelling? 1
1 Computational Power Meets Human Contact 3
John Hartley and Kelly McWilliam
2 TV Stories: From Representation to Productivity 16
John Hartley
3 The Global Diffusion of a Community Media Practice:
Digital Storytelling Online 37
Kelly McWilliam
Part II Foundational Practices 77
4 Where It All Started: The Center for Digital
Storytelling in California 79
Joe Lambert
5 “Capture Wales”: The BBC Digital Storytelling Project 91
Daniel Meadows and Jenny Kidd
6 Digital Storytelling at the Australian Centre
for the Moving Image 118
Helen Simondson
7 Radio Storytelling and Beyond 124
Marie Crook
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vi Contents
Part III Digital Storytelling Around the World 129
8 Narrating Euro-African Life in Digital Space 131
Sissy Helff and Julie Woletz
9 Developing Digital Storytelling in Brazil 144
Margaret Anne Clarke
10 Digital Storytelling as Participatory Public History in Australia 155
Jean Burgess and Helen Klaebe
11 Finding a Voice: Participatory Development in Southeast Asia 167
Jo Tacchi
12 The Matrices of Digital Storytelling: Examples from Scandinavia 176
Knut Lundby
13 Digital Storytelling in Belgium: Power and Participation 188
Nico Carpentier
14 Exploring Self-representations in Wales and London:
Tension in the Text 205
Nancy Thumim
Part IV Emergent Practices 219
15 Digital Storytelling as Play: The Tale of Tales 221
Maria Chatzichristodoulou
16 Commercialization and Digital Storytelling in China 230
Wu Qiongli
17 Digital Storytelling with Youth: Whose Agenda Is It? 245
Lora Taub-Pervizpour
18 Digital Storytelling in Education: An Emerging Institutional
Technology? 252
Patrick Lowenthal
19 Digital Storytelling in Organizations: Syntax and Skills 260
Lisa Dush
20 Beyond Individual Expression: Working with
Cultural Institutions 269
Jerry Watkins and Angelina Russo
References 279
Index 300
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List of Figures
Figure 2.1 “Tartu school” semiotic model of culture 22
Figure 2.2 A Prince of Wales visits Cardigan Castle 28
Figure 5.1 “Capture Wales” story circle: match game, Rhayader 103
Figure 5.2 “Capture Wales” story circle: story-in-a-picture game,
Butetown, Cardiff 103
Figure 5.3 “Capture Wales” production tutorial: the eye
of Daniel, Harlech 105
Figure 6.1 GP Express 01, from ACMI’s Memory Grid 122
Figure 6.2 Hong Kong, from ACMI’s Memory Grid 122
Figure 11.1 Mail Today newspaper, November 9, 2006 168
Figure 13.1 Models of (semi-)participatory organizations 189
Figure 13.2 Foucault on power 197
Figure 13.3 VvD’s 2007 story organ 198
Figure 13.4 The BNA-BBOT story bike 199
Figure 15.1 A fawn in The Endless Forest 222
Figure 15.2 A stag in The Endless Forest, at The Pond 222
Figure 15.3 Different actions a deer can perform 222
Figure 15.4 Auriea Harvey and Michaël Samyn, founders
of Tale of Tales 223
Figure 15.5 The Twin Gods 226
Figure 15.6 An Abiogenesis performance 227
Figure 16.1 Relations of netizen, prosumer, and Generation C 234
Figure 16.2 The framework of the digital storytelling solution 237
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viii List of Figures
Figure 16.3 The new business model of commercializing netizens’
creativity 237
Figure 16.4 The business model for a digital storytelling
solution 238
Figure 19.1 The genre–context graphic 267
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List of Tables
Table 1.1 Opening years of major DST programs, by continent 6
Table 3.1 Survey of DST online: educational institutions, K12 40
Table 3.2 Survey of DST online: educational institutions, tertiary 47
Table 3.3 Survey of DST online: educational institutions,
colleges and institutes 50
Table 3.4 Survey of DST online: community centers/organizations 54
Table 3.5 Survey of DST online: cultural institutions 63
Table 3.6 Survey of DST online: government, business,
and religious hosts 70
Table 16.1 The benefits raised by DST services in China 242
Table 19.1 The steps, skills, and support team involved in the DST
workshop process 263
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Acknowledgments
Story Circle surveys new work done around the world, but it arose from a
very particular context: the Creative Industries Faculty at Queensland
University of Technology (QUT). Over a period of years many people have
lent their help and goodwill to the enterprise, and we would like to thank
them. They include quite a few of the authors; special thanks go to Jean
Burgess, Helen Klaebe, Angelina Russo, Jo Tacchi, and Jerry Watkins. From
QUT we would also like to thank all those who participated in our work-
shops; and Justin Brow, Brad Haseman, Greg Hearn, Paul Makeham, Lucy
Montgomery, Tanya Notley, and Christina Spurgeon. Brad provided valu-
able institutional support from the Faculty Research Office. We have also
been ably supported to an extent we do not deserve by Claire Carlin,
Rebekah Denning, Tina Horton, Nicki Hunt, and Eli Koger. Eli has been
invaluable on the technical and presentational side – she makes things work
beautifully and look beautiful.
Beyond our own patch we have enjoyed working with pioneers Joe
Lambert and Daniel Meadows. Joe has been especially helpful with the
book; and Daniel helped us to kick off digital storytelling at QUT in the
first place. Glynda Hull and Knut Lundby encouraged our work, particu-
larly in the pre-conference on digital storytelling that they organized at the
International Communication Association conference in San Francisco in
2007. Helen Simondson and her colleagues at the Australian Centre for the
Moving Image (ACMI) in Melbourne have been crucial to the development
of digital storytelling in Australia; we thank them for holding the “First
Person” conference on digital storytelling at ACMI in February 2006 (see
www.acmi.net.au/first_person_transcripts.htm).
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