Digital Storytelling


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  • Center for Digital Storytelling (2005). Retrieved December 12, 2011, from
  • Center for Digital Storytelling (2005). Retrieved December 22, 2011, from
  • Reference:Center for Digital Storytelling. (2009). The evolution of digital storytelling:An abbreviated history of key moments during the first sixteen years (1993-2006). Retrieved January 10, 2012, from
  • Center for Digital Storytelling (2005). Retrieved December 22, 2011, from
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  • Digital Storytelling

    1. 1. Digital StorytellingAmanda Kasey Langston-Wilson Dr. Toledo EDUC 7107-2 Diffusion of Technology
    2. 2.  According to CDS, digital storytelling is a short, first person video-narrative created by combining recorded voice, still and moving images, and music or other sounds.
    3. 3.  Element #1—Why was there a need for Digital Storytelling Element #2—The Research leading to Digital Storytelling Element #3—Development of Digital Storytelling Element #4—How and when introduced to the public
    4. 4.  People needed a way to tell a story using video. Technology enabled those to produce works that told a story using images and sound that were very similar to a movie.
    5. 5.  A group of media artists, designers, and practitioners, including Joe Lambert and Dana Atchley, came together in the early 1990’s to San Francisco to explore how personal narrative and storytelling could be incorporated in a form of technology . Digital Storytelling was also used by Ken Burns in the Joe Lambert discussing digital documentary ―The Civil War‖ storytelling
    6. 6. Reference:Rogers, E. M. (2003). Diffusion of innovations (5th ed.). New York, NY: Free Press.
    7. 7. • In 1986, Joe Lambert, the executive director of the new Life On The Water Theater Company, meet a local video producer named Dana Atchley after she viewed a production.• In 1988, Lambert and Atchley worked together to collaborate and develop Atchley’s Next Exit, an interactive theoretical performance (White, 2010).
    8. 8.  In 1993, Lambert and Atchely taught three digital storytelling workshops for documentary filmmakers at the American Film Institute in Los Angeles, California. These workshops were provided by the Center for Digital Storytelling (White, 2010).
    9. 9. In the years between 1994 and 1998,Atchley, Lambert and Lamber’s wife, NinaMullen created workshops whichconverted home movies into digitalstories that were created by Life on theWater (White, 2010).
    10. 10. In 1994, Digital storytelling was featured on CNN and MSNBC.The San Fransico Digital Media Center, SFDMC, collaborated withnumerous organizations in England, Germany, and Denmark during1994. (White, 2010). In 1996, the first Digital Storytelling Cookbook was publishedby SFDMC. It was a hands-on production tutorial using SFDMCnarration. ‚With support from Apple Computer, the SFDMCpublishes the first version of the Digital Storytelling Cookbook,outlining the ‘Seven Elements’ of digital storytelling and offeringhands-on production tutorials‛ (Center for Digital Storytelling). Preview of a digital copy of the Digital Storytelling Cookbook
    11. 11. Reference:Center for Digital Storytelling (2005). Retrieved December 20, 2011, from
    12. 12.  The intended users were film makers and people wanting to create and to share personal narratives.
    13. 13.  primary and secondary education higher education public health, social services, and international development museums libraries
    14. 14. What is the S- Curve? S-Curve – Innovation The S-shaped curve of adoption is the normal curve that ―accelerates to a maximum until half of the individuals on the systems have adopted. Then it increases at a gradually slower rate as fewer and fewer remaining individuals adopt the innovation.‖ (Rogers, 2003, p. 272). Digital storytelling began in the 1990’s. Digital storytelling hasn’t reached full potential or complete adoption due to it’s newness.
    15. 15. The Adoption Process of Digital Storytelling2002200019981996199419921990198819861984 Adoption Process
    16. 16.  Administrators of the school systems ELA teachers Reading teachers Technology teachers Computer teachers
    17. 17.  Teachers that would include it in their curriculum Students that are creating stories to help them understand standards in their grade level curriculum
    18. 18.  The teachers that are using digital storytelling, but only because their fellow colleagues are using the innovation in their classrooms.
    19. 19.  The teacher is utilizing this innovation in their classroom as part of their instruction.
    20. 20.  Staff members that are Strategies not familiar with digital  Professional learning storytelling opportunities Students that are not  Instructional videos of teachers using digital exposed to technology storytelling the classroom in regards to with their students understanding  Videos of students using digital storytelling to meet standards in core classes
    21. 21. Critical mass ―occurs at Critical mass was reachedthe point at which enough in 1999 when the demand individuals in a system for CDS annual workshopshave adopted an innovation and training was requested so that the innovations nationally and further rate of adoption internationally becomes self-sustaining‖ (CDS, 2009). (Rogers, 2003, p.344). Critical mass is reached in education when the teachers and faculty are wanting and attending training for digital storytelling.
    22. 22. Teachers: Students:Uses a variety of Encourageslearning styles collaborationApplicable in all grade-levels Improves writingcan be implemented in Increases researchthe classroom to introduce skillsnew content Students are active instudents are exposed to their own learningmultimediamake difficult contenteasier to understand
    23. 23. As stated by Rogers, decentralized diffusion occurs when innovationsoriginate from numerous sources and then advance (Rogers, 2003).Given an education environment, the users would be able to learn anduse this innovation without needing technology support from aninstructor. Specific faculty members such as leaders will adopt theinnovation. The teachers will have a sense of control whenimplementing digital storytelling in their classrooms. There will betime for teachers to discuss the pros and cons with each other in acollaborative setting. The most important part is that teachers will beable to focus on the individual needs of the students with success.
    24. 24.
    25. 25. Reference:Kieler, L. (2010). A Reflection: Trials in Using Digital Storytelling Effectively With the Gifted. Gifted Child Today, 33(3), 48-52.Retreived from