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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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Part III: Strategies of Digital Narration

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™ PART III STRATEGIES OF DIGITAL NARRATION Lundby et al.indd Sec1:143 7/30/08 10:04:54 PM Lundby et al.indd Sec1:144 7/30/08 10:04:54 PM ™ EIGHT Digital storytelling as a ‘discursively ordered domain’ KELLY MCWILL IAM Digital storytelling is one part, albeit a comparatively small one, of the larger Australian mediasphere (Hartley, 1996; Hartley & McKee, 2000). Th is is true of (what I refer to as) both the generic and specifi c conceptions of digital sto- rytelling. To distinguish, the generic conception of digital storytelling is epito- mised by writers like Carolyn Handler Miller who, in her Digital Storytell- ing (2004), uses the term broadly to refer to any media form that digitally facilitates interactive storytelling (from online games to interactive DVDs). Th e specifi c conception refers to the co-creative fi lmmaking practice developed by Dana Atchley, Joe Lambert and Nina Mullen in California in the early 1990s, now homed in the Center for Digital Storytelling (www.storycenter. org). Organised around a pedagogical goal of teaching ‘ordinary’ citizens basic media productions skills, specifi c digital storytelling takes a standard form; it is a workshop-based format that teaches attendees how to create a 2–5 minute digital fi lm, comprised in its simplest form of a voice-over and self-sourced photographs, about a particular moment in their lives. Here, the process of creating a digital story is interactive, but the digital story itself is not. Th is chapter focuses on specifi c digital storytelling in Australia. Although Lundby et al.indd Sec1:145 7/30/08...

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