Digital storytelling allows for new forms of nonlinear, contextual narratives across multiple media platforms. Stories can take fractal paths as audiences participate in cocreating and sharing content. While some online stories are fleeting, context and communities help form coherent narratives. Effective digital storytelling considers the audience experience, engages fan participation, and integrates personal stories across platforms to bring people together.
2. What is Storytelling? “Storytelling is the conveying of events in words, images, and sounds... Stories or narratives are shared in every culture and in every land as a means of entertainment, education, preservation of culture and in order to instill moral values.”-Wikipedia
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6. We need stories and myths to give us rules to live by; ideas to believe in; goals to strive for“People are hungry for stories. It’s part of our very being. Storytelling is a form of history, of immortality too. It goes from one generation to another. —Studs Terkel
7. What is the Connection Between Brands and Storytelling? "The emergence of brands as myths has been triggered by the decline of standard myths in western culture. Western modernity is “the child of logos” [the opposite of mythos in the Hellenistic tradition, it represents science and facts]. Science became the dominant paradigm for understanding the world. But logos alone is unable to give us a sense of significance – it was myth that gave life meaning and context. Thus society unconsciously cried out for and ultimately created its own myths around the newly dominant force of consumerism. Logos led us to logos.” – FarisYakob
8. Brands Need Myths -Brand Asset Valuator 2008, among 2500 brands studied over 14 years
10. Storytelling in the Digital World “Every art form arises out of a technology. Novels exist because the printing press made books cheap enough to use for fun. TV was supposed to be news and education. The artform that came from the computer is video games. What I do is write for an art form arising from the internet.” - Maureen McHugh (founder of the Alternate Reality Game company No Mimes Media)
11. Web 1.0 Storytelling Multilinear Evanescent Hypertext Multimedia - Adapted from Bryan Alexander, University of Michigan
17. Evanescent & Eternal Bits of online stories are still fleeting and innumerable. But we’re exploring ways to track them, capture them, and form them into coherent stories.
19. Hypercontextual Eg: Context is playing an increasingly large role in how we interpret and create stories. We can understand and create narratives with respect to the many dimensions that define it - like time, place, mood, and space.
22. Transmedia Transmedia Storytelling is the weaving of narratives across multiple forms of media with each element making distinctive contributions to a viewer/user/player's understanding of the story world. By using different media formats, it attempts to create "entrypoints" through which consumers can become immersed in a story world.(Henry Jenkins, 2006, Convergence Culture) Factors driving the growth of transmedia storytelling: Growth of new media forms like video games, the internet, and mobile platforms and the demand for content in each, and economic incentive to share assets.
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25. So what should we think about when we’re telling stories digitally?
26. To Consider For Digital Storytelling We (audience, communities, brands)are creating stories together. Endings are open, narratives are infinite and stories can not be contained. "We are now in the business ofstarting stories, not attempting to nail them down from beginning to end. Letting stories take on a life of their own, to be played with, passed around, modified and enriched by the audiences they’re developed for." - Mel Exon, BBH
27. To Consider For Digital Storytelling - Texture and context. We have the tools and technology to make the storytelling experience more immersive, personally relevant, and shareable than ever. We should offer multiple lenses through which to read and interpret our stories - and we should use the most effective media possible to tell specific parts of our stories. The experience should transport, not just illustrate.
28. To Consider For Digital Storytelling - The Power of Fan culture. Fans are ‘hunter gatherers’ of content. They want to participate and piece together their stories. They come with their communities, norms, implicit codes of behavior and language, and so on. If a story/brand wants to reach its fans, it must consider the community, not just the tools and platforms.
29. To Consider For Digital Storytelling Personal Brands/ Personal Storytelling. How does your story integrate into the personal narratives of your audience members? How can they use it in their own story they’re telling about themselves online and off?
30. Telling Stories Now: The Takeaway Aim to create a consistent, unified experience across all platforms. Think about the best platforms for your story, and the best communities to tell them in. Each digital piece shouldbe able to stand on its own while adding something to the larger experience. Make a campfire. Bring people together. Give them something to participate in and enjoy. (*thanks to Ivan Askwith for the inspiration)
31. Resources MIT Convergence Culture Consortium http://www.convergenceculture.org/ Grant McCracken http://www.cultureby.com FarisYakob http://www.farisyakob.com Big Spaceship Blog http://www.bigspaceship.com/blog/think/ Starlight Runner http://www.starlightrunner.com/ Campfire Media http://www.campfiremedia.com/ Brand Tags http://www.brandtags.net Star Wars Uncut http://www.starwarsuncut.com Levis Go Forth Campaign http://goforth.levi.com Coca-Cola Happiness Factory http://hf3.coca-cola.com/ Burger King Subservient Chicken http://www.subservientchicken.com The Whale Hunt http://www.thewhalehunt.org Penguin’s We Tell Stories http://wetellstories.co.uk/ Soundwalk http://www.soundwalk.com Virgin Twitter Campaign http://www.4320LA.com
Hinweis der Redaktion
- When I first started thinking about preparing this presentation, I couldn’t help but want to delve into the idea of STORYTELLING. IT’s significance to us as a culture, as people.
Forms continue evolving: oral history; novels; comic books; radio shows; sitcoms; webisodes; mobile soap operas; videogames; advertisements; and on and on
New balance 574 Clips - 480 pairs of handmade new balance 574 clips…. Each had a polaroid in the box that matched with the site.
- Apple 1984 ad – when the Macintosh was introduced and changed the trajectory for home computing entirely
So what the tobacco industry has done is created a myth around what it means to be a man, where he belongs, the ruggedness of smoking and solitude and manliness. We see a similar story weaving around Coco Before Chanel – a movie about Coco Chanel, but that was accompanied by an ad campaign featuring Audrey Tautou and other actors from the movie to extend this connection between the star and the story of Chanel. Interesting how this changes over time and as our cultural values change
Playstation’s Double Life commercial http://www.youtube.com/watch?v=6Bqq38WZctA
***What is storytelling’s purpose to us today?At its core, it give us something to have faith in
As we all know so much of our culture and how we define ourselves to others and ourselves is based around how we behave as consumers. Through the products we buy, the brands we support, the events we go to, the ideas we want to project about what we value – this has come to play a huge part in who we are. So we look for meaning in the things we buy and use. We want the way we consume to reflect who we are. and we need myths because we need meaning and context in a world of facts and numbers
AND it’s a necessity for brands to create stories – bc its becoming harder for consumers to differentiate between products, Why this is even more true now (according to brand asset value)
And the story becomes whats spoken about, not just the product and its qualities. EG: Corona. This is the brand story they’ve been able to create around their beer.
**So how does that play out in the digital world?In many ways, similar to other forms – the core idea of crafting good stories is there. What is different is the way we approach it, how we consider its potential, and how, when, where we use it to engage with the audiences we want to affect.
SO HOW ARE WE SEEING STORYTELLING MANIFEST NOWInstead of Multilinear we see stories going off in many infinite directions.Stories are autonomous, not referential to offline products and storiesPieces of narratives are evanescent, but they’re also being captured, kept, and recordedWe want more than a hyperlink, we want a hypercontext. We want more dimensions from which we can look at a story, like time, place ,moodWe’re seeing fuller pictures- portraits. Because contributing content and dispersing new pieces of your story on the internet is so cheap, we have the capability to tell fuller stories. That discuss the process and backstory of products, not just the products themselves.And finally – transmedia. We are telling stories across multiiple media, capturing different audiences and offering different pieces of the puzzle to the audience.
StarwarsUncut.com: To recreate Stars Wars: a New Hope from 1977.Storytelling can still be linear – but now the lines are going in different directions. Based on audience responses. Creators, communities, etc.
Stories arent told continuously – they are told infinitely, in all directions.Levis Go Forth….Pepsi we inspire : several people’s stories, told many different ways – hosted by the Brand. Curated. Shared.
Pieces are still fleeting –but now we are tracking them.EG: Feltron Report;- now you can create your own with Daytum – records how many times you ate a donut, or listened to a specific song etc. Google Wave – realtime conversation; archiving of the conversations – search through; Adobe Zoetrope – ZoetropeCoke’s Expedition 206
Virgin Australia 4320
Penguins We Tell Stories is an experimental storytelling project giving readers the chance to experience stories in nontraditional ways. Charles Cummings 21 steps stories was told through a Google Maps mashup. Pivotal points in the story corresponded with specific places on the satellite map – so ppl followed the story spatially and not necessarily chronologically.Hitotoki
Soundwalk’s walking tours //- There is now an iphone app for city guides in france and spain.
Whale Hunt: Artist Jonathan Harris tells the story of a whale hunt through pictures and a chronology, where viewers can read through the story by character, heartbeat, theme (hunt; preparation; etc); color; time of dayHitotoki
This project by Soundwalk gave visitors to the Chanel Mobile Art exhibit a chance to experience the space with an MP3 audio tour corresponding to the exhibition. Contextual to Physical Space. Louis Vuitton created a similar series for Beijing, Shanghai, and Hong Kong.Simultaneously creating a richer experience of a place both online and for those physically there.Jeanne moreaufrench actress singer screenwriter and director. Starred in Jules et Jim,- There is now an iphone app for city guides in france and spain.
Whale Hunt: Artist Jonathan Harris tells the story of a whale hunt through pictures and a chronology, where viewers can read through the story by character, heartbeat, theme (hunt; preparation; etc); color; time of dayHitotoki