Experiences and Criticisms
Edited By Matteo Stocchetti
While the importance of the role of storytelling can hardly be overestimated, the impact of digitalization on this role is more ambivalent. In this second book-length publication of the programme Media and Education in the Digital Age – MEDA, the authors take a critical stance towards the alleged emancipative affordances of digital storytelling in education. The collection is inspired by the effort of making professional educators aware of the risks of the digital turn in educational storytelling but also of the opportunities and the conditions for critical engagements. Based on their research and field experience, fifteen scholars discuss in nine chapters these risks and opportunities, providing ideas, evidence, references and inspiration to educators and researchers.
The Digital Turn in Storytelling and Creative Industries in China: A Report
Abstract In recent years, creative industries in China have had an important role both economically and socially, and the sectors of animation and video games have had the chance to develop significantly. Animation, as a form of storytelling, can have a strong educational power (Van Riper, 2011): this is the basis of the new industrial strategy adopted by China in the creative sector, as far as the animation field is concerned (Tan, 2006). Over a few years, the animation industry was able to achieve a great development with the creation of products mainly for broadcast on TV. Animation now represents around 220,000 minutes per year. For this reason, China became the number one producer of animation in the world in 2010. But to achieve this, the Chinese government had to encourage and try to structure the entire animation industry (Lu Bin, 2013). In the early 2000s, the animation industry in China increased the production of animation contents, thanks to the introduction of computers in industrial production, bringing about an increase in minutes and quality (Tan, 2006). This new technological condition was somehow facilitated by the government that pushed the major animation production studios to adapt to new technological standards and keep pace with other countries competing in this area (Qing, 2006). The digital turn in storytelling seems to have increased the capacity of the government to promote traditional values, rather than improving the chances of the independent authors and private studios to create new stories. The development...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.