EDU2400 Digital Stories Part 5

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  • 1. Chapter 9More story MapsFrom Aristotle to Present Day&Chapter 10Other kinds of StoriesOther story forms and story perspectivesFrom: Digital Storytelling in the Classroom by Jason Ohler
    Angelina, Dee, Andrea, Natalie, Shama, Marcella
  • 2. AGENDA
    Aristotle’s Dramatic Diagram
    Simplified Joseph Cambell Map
    Treasure Maps
    Keiran Egan’s Story Form
    The Story Spine
    Stories Told by Indigenous Storytellers
    The Story Edge of the Western Tradition
    Art Stories and Music Videos
  • 3. Chapter 9More story Maps
  • 4. Aristotle’s Dramatic Diagram
    In The Poetics, Aristotle describes process of telling a good story
    Protagonist encounters ‘mountainous’ journey
    At “Peripeteia” (climax), transformation comes through reversal of fortune
    Beginning=Tying the Knot
    Ending= Untying the Knot
    Simple & Powerful
  • 5. Simplified Joseph Campbell Map
    Heroes end up where they began, though changed by their experience
    At ending, Hero lives in two worlds…
    Old one they left behind
    New one they have emerged into
  • 6. Treasure Maps
    •Allows flexible customization to a story map
    •The number of “hills” and “valleys” are not provided. These are all created by the storyteller
    •The protagonist is thrown into a situation from the “ordinary life”
  • 7. Treasure Map Story Map
    •At the end of each “valley”, the “hill” moves higher on the page
    (building tension)
    • X marks the spot! At end of the story, the line is higher than the beginning
    (a transformation of the protagonist has occurred)
  • 8. Adapted Story Map
    • “Reversals” are added to “hills”
    • Denotes set backs that are eventually overcome
  • 9. McKee’s Quest Diagram
    • Material, emotional and spiritual goals are sought on a conscious and unconscious level.
    • Playing ping-pong with the audience’s emotions is represent by the teeth like lines.
    •The goal is close to achievement but then something happens that undermines this.
  • 10. Kieran Egan’s Story Form in Education
    Egan is well known in education circles for his commitment to leveraging children’s most underutilized resource
    …their IMAGINATIONS!!
    He recommended that lesson plans be developed based on the story form rather than the typical task-subtask lesson plan structure that is still in such prevalent use.
  • 11. The Story Form Model
    Identifying Importance
    Finding binary opposites
    Organizing content into story form
    Conclusion
    Evaluation
  • 12. STORY FORM
    Is memorable, while lists of tasks and subtasks are not. We make lists because we forget things; we tell stories to help us remember them.
    Is emotionally engaging. Stories involve a sense of what’s next and how things end that keep us listening and engaged; logical lists do not.
  • 13. Binary Opposites= Core of story form
    They provide the force behind the story that defines what happens, how people change and what we learn as participants and listeners.
    Children are accustomed to binary opposites from the stories they hear. Example.Cinderella.
    Good Vs. Bad
  • 14. Kenn Adams’ Story Spine
    Step-by-step approach to providing story structure
    Story is provided a “spine” through use of “sentence starters”
    Beginning“Once upon at time…”
    Ending“And the moral of the story is…”
  • 15. Chapter 10: Other Kinds of Stories
  • 16. Stories
    narrative
    depth
    Humanconstruct
    dimensional
    Genres
    western
    poetry
    Indigenous
    digital
    Visual imagery
    Musicvideos
    Cultural
    perspectives
  • 17. Stories Told by Indigenous Storytellers
    Thomas King, a well known Indigenous writer, illuminates the vast world of Native culture and story largely unknown to most
    King enables his audience to rediscover truths about Native Americans, as they are often represented as stereotypes or romanticized
    “native storytelling”= a genre that is impossible to consider as a monolithic entity
    Stories vary in terms of how, when and why they are told, therefore, it is impossible to distinguish authentic from inauthentic stories
    Recognize differences in storytelling approaches
  • 18. The Story Edge of the Western Tradition
    Stories containing Campbellian antiheroes, antiplots – not “classical” quest stories
    Focus on emotional experience:
    “Waiting for Godot is not so much about waiting as it is waiting”
    Ending of Waiting for Godot
  • 19. Art Stories and Music Videos
    • Music videos are one of the most prevalent forms of short media
    • 20. Lasts about as long as a digital story
    • 21. Most music videos tell a story through a pictorial collage that moves in concert with the song lyrics, setting up tension, resolution, and an expectation of the events
    • 22. But in other cases where song lyrics don’t tell a story, story is told by painting music video by sound and images
  • Art Stories and Music Videos
    Green Day's "Boulevard of Broken Dreams“
    In this video band members are walking along a surreal boulevard among the debris which represents the wreckage of broken dreams
    Use of emotional impact of music to overwhelm digital stories
    Music video artists repackage songs with powerful visual imagery to intensify the connection
  • 23. Conclusion
    The structure of a story is culturally dependent, and as such, not universal
    Given the chance to create a digital story using non-Western story forms can help one develop a more multicultural appreciation of ‘story’
    Experimenting with various kinds of narrative can help one appreciate the range of options open to him/her as a new media narrator
  • 24. And so...
    Iconic Music Video: Jackson's Thriller
  • 25. The End
    Thank you for watching our presentation.