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Digital life storytelling and dementia: Linear narratives or lines of flight?
- 1. Digital life storytelling and dementia: Linear narratives or lines of flight? 23 September 20151 Andrea Capstick and Katherine Ludwin, University of Bradford
- 2. The research • NIHR-SSCR-funded • Ten people with dementia aged 76-99 years, living in long-term social care • Impact of participatory film-making on social participation and well- being 23 September 20152
- 3. Rhizomatic narratives 23 September 20153
- 4. Linear format 23 September 20154
- 5. Lines of flight…. 23 September 20155
- 6. Drawing on film theory • Foregrounding theory; fabula and syuzhet (Bordwell) • Film-making tropes that also occur in narratives of people with dementia eg two people share an identity; dead and living people confused with each other; palimpsests. 23 September 20156
- 7. NIHR-SSCR disclaimer: This presentation presents independent research commissioned by the NIHR SSCR. The views expressed are those of the author and not necessarily those of the NIHR-SSCR or the DH, NIHR or NHS. 23 September 20157
Editor's Notes
- Preparatory to completing digital stories with ten people with a diagnosis of dementia who were living in a long-term social care environment, we used both linear (visual narrative) and non-linear (collaging) storyboarding techniques. This presentation draws on examples of both, together with extracts from one completed digital life story, to highlight why we need to avoid linear form dictating digital storytelling practice.
- Play film after this slide.
- Digital storytelling using a standard software package such as Photostory 3 can work to impose a linear format on a slideshow of visual images, ie childhood, school, work, dating, marriage. The forms of self-expression adopted by people who have a diagnosis of dementia can often be digressive, circuitous and rhizomatic, corresponding more closely to Deleuze and Guattari’s concept of ‘lines of flight’. Who/where more important than when. Play Edith film clip here. We found participants interacted differently with storyboards in collage format. In this clip Florence’s images were grouped thematically (old house/new house/holidays – bridge is always central, she keeps coming back to it both verbally and non-verbally).
- Rose was born in 1914, but unlike the standard historical timeline of the 20th century, her subjective experience of past and present events often opposes the unidirectional, linear view of ‘history as progress’ that has also been challenged by critical theorists including Benjamin, Deleuze and Guattari. Past and present events frequently interpenetrate, echo, repeat, or are superimposed upon each other, escaping the constraints of the linear narrative format, and conforming more closely to the nature of a rhizome or constellation. War-time separations, her son’s childhood illnesses and her husband’s infidelities still loom large.
- Perhaps digital storytelling and participatory video need to pay more attention to film theory. Two people share an identity – Vertigo. Dead and living people confused: Sixth Sense. The image is from Terence Davies’s 1988 film, Distant Voices, Still Lives, about a Liverpool family told over several decades, and still trying to come to terms with the legacy of an abusive father, played by Pete Postlethwaite. Family members often go back in time in the process of going from one room to another and can never escape the past. This kind of palimpsestic experience is very similiar to the experiences of many people with dementia for whom family members who have died are still very much alive.