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Digital Storytelling, Mediatized Stories

Self-representations in New Media

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Edited By Knut Lundby

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.
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1. Introduction: Digital storytelling, mediatized stories

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Introduction: Digital storytelling, mediatized stories

        KNUT LUNDBY

This book aims to understand transformations in the age-old practices of storytelling that have become possible with the new, digital media. The resulting digital stories could be called ‘mediatized stories’.

Digital Storytelling is proliferating. Amateur personal stories, focusing on ‘me’, flourish on social networking sites on the web and in digital storytelling workshops. This book deals with such self-representational stories in new media.

The approach is interdisciplinary. How can the mediation or mediatization processes of Digital Storytelling be grasped? The book offers an encounter between a sociological perspective of media studies and a socio-cultural take of the educational sciences. Aesthetic and literary perspectives on narration as well as a questioning from an informatics perspective are also included in the book.

Small-scale stories

There is a variety of digital storytelling forms, for example, those related to the narrative power of visual effects in film (cf. McClean, 2007) or the creative ← 1 | 2 → opportunities in interactive entertainment (Miller, 2004). This book, in contrast, focuses on small-scale Digital Storytelling, or what Kelly McWilliam in her chapter calls ‘specific digital storytelling,’ denoted in this introduction with the capital D and capital S. They are small-scale as a media form. The stories focused on here are usually short, just a few minutes long. Second, they are small-scale in the sense that they are made with off-the-shelf equipment and techniques. The productions are not...

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