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“Stories are the large and small instruments of meaning, of explanation, that we store in our memories.” Joe Lambert / Roger Schank “Tell me a fact and.

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Presentation on theme: "“Stories are the large and small instruments of meaning, of explanation, that we store in our memories.” Joe Lambert / Roger Schank “Tell me a fact and."— Presentation transcript:

1 “Stories are the large and small instruments of meaning, of explanation, that we store in our memories.” Joe Lambert / Roger Schank “Tell me a fact and I’ll learn. Tell me a truth and I’ll believe. Tell me a story and I’ll remember forever.” Saying

2 Storytelling in the Age of the Internet NERCOMP 2007 Gail Matthews-DeNatale Associate Director Lesley Weiman Technical Training Consultant Jamie Traynor Production Specialist Academic Technology, Simmons College

3 Storytelling in the Age of the Internet Additional Perspectives Rachel Franchi Sophomore Vaughn Rogers Sophomore Ellen Goodman SSW Field Education Faculty

4 Presentation Overview 1.What are digital stories? 2.Writing and digital storytelling 3.Value for higher education 4.Designing assignments 5.Tips and recommendations for support

5 Part I What are digital stories?

6 A Tale of Two Types of Digital Stories Story Maps (a mash-up) http://at.simmons.edu/boston_story_map/2005.html (first year, first semester, short first assignment) http://at.simmons.edu/mcc101/worldmap.html (culminating experience, end of semester) http://at.simmons.edu/boston_story_map/2005.html http://at.simmons.edu/mcc101/worldmap.html Digital Stories (short iMovie productions) Faculty-Produced Story (faculty institute) Storytelling + Digital Media + Internet

7 Faculty-Produced Digital Story Reflection on an Unresolved Life Experience VIEW ELLEN GOODMAN VIDEO

8 Part II What’s the similarity and difference between writing and digital storytelling?

9 Storytelling in the Age of the Internet “Digital stories” are manifestations (evidence) of student thought But the same can be said of writing. What’s so special about digital storytelling?

10 Digital Storytelling and Writing Flow, Senses, Represent Internal/External VIEW VIDEO CLIP #1

11 Story-Making Experience, Reflect (personal) Early Tellings (for family/friends) Interim Tellings (for wider circle) Personal Repertoire (for community-at-large) Collective Repertoire (enters collective wisdom) Writing/Publishing Experience, Free Writing (personal) Topic Idea (run by teacher/peers) Drafts One, Two, etc., (feedback from teacher, peers) Publication (range of venues) Enters Knowledge Base (cited) Parallels in the “Composition” Process

12 Part III What’s the value of (digital) storytelling for higher education?

13 Challenging Questions for Educators How can we help students increase the amount of time they devote to reflection and critical thinking? How can we help students articulate what they are learning? How can we help students remember and care about learning?

14 The Value of Digital Storytelling Memorable, Reflective, Transformative … VIEW VIDEO CLIP #2

15 Combines visual, aural, and kinesthetic learning Iterative production process encourages revisiting, reflecting on meaning Increases literacy/fluency across media Connects prior life experiences, course, and other co-curricular learning Can be shared beyond academia The Value of Digital Story-Making

16 Story-Making Learning Cycle Reflection & Analysis Deeper Personal Understanding Share with Others Experience Future Stories

17 Part IV What's involved in designing digital storytelling assignments?

18 Story-Making vs. Digital Story-Making Story-Making Experience, reflect Early Tellings Interim Tellings Personal Repertoire Collective Repertoire Digital Story-Making Experience, reflect Select, share idea, preliminary feedback Collect images/sounds, develop script/storyboard Create, screen for peers, reflect on experience DVD / Internet

19 View and Analyze Others’ Stories (move from passive consumer to thoughtful critic) Select/Reflect on the Experience to “Tell” (peer feedback) Collect Materials to Tell the Story (photos, video, audio) Develop Script and Storyboard (reflect, pare down, “sneakernet” feedback) Software Training Produce Story Screen and Reflect on the Experience Design Assignment to Scaffold Process

20 A Word on the Value of Rubrics Storyboard/Script Feedback Criteria OutstandingSatisfactoryPoorWhy? Has A Point (of View) - purpose - stance Engaging - interesting - surprising - thought-provoking Quality Script/Voice - well spoken - good pacing - music, if any, furthers message Use of Images/Video - w. voice, adds new dimension - visual flow Wise Economy/Detail - pacing - pare away AND - dig deeper

21 Part V What are the “lessons learned,” our tips and recommendations for support?

22 Digital Story-making Entails 2/4 planning 1/4 software training 1/4 hands-on production The Importance of Planning

23 Value/interest may need to be proven Long-term commitment to awareness- building through faculty lunches, workshops, institutes, conversations Faculty don’t usually understand the time commitment (for themselves and for students) until they’ve had the experience Awareness and Capacity-Building

24 Policies and guidelines Road-tested handouts, workshops, and resource modules External drives and digital cameras Staffed “project lab” sessions Be prepared for “one offs” Strategies - teams, optional assignment Infrastructure and Support

25 Final Thoughts Using ALL of Our Brains VIEW VIDEO CLIP #3

26 “Those who do not have power over the story that dominates their lives, the power to retell it, rethink it, deconstruct it, joke about it, and change it as times change, truly are powerless, because they cannot think new thoughts. ” Salman Rushdie Final Words


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