Self-representations in New Media
Edited By Knut Lundby
Part III: Strategies of Digital Narration
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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