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Zeitschriftenartikel zum Thema „Visuell storytelling“

Autor: Grafiati

Veröffentlicht am 24. Juni 2021

Zuletzt aktualisiert am 8. Februar 2022

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1

Wedler, Katharina. „Selbstreferentialität und Historisierung als Werkzeuge medialen Handelns im bildungswissenschaftlichen Kontext“. MedienPädagogik: Zeitschrift für Theorie und Praxis der Medienbildung 17, Jahrbuch Medienpädagogik (02.05.2020): 217–43. http://dx.doi.org/10.21240/mpaed/jb17/2020.05.02.x.

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Bedingt durch die Potentiale digitaler Lehr- und Lernformate verändert sich die didaktische Gestaltung von Seminaren beispielsweise dahingehend, dass sich das Aneignung von Wissen zunehmend der Lebenswelt Studierender anpasst. In dem folgenden Beitrag soll anhand studentischer Arbeiten aufgezeigt werden, welchen Einfluss ein individueller Prozess der Wissensaneignung auf das Produkt nimmt. Die durch die Studierenden erstellten Erklärvideos demonstrieren anhand ihrer transformierten Texte in Kombination mit Pop Art Clips eine aktuelle Darstellungsform Populärer Kultur und setzen somit visuell als auch textuell den state of the Art fest. Die Herausforderung in der Erarbeitung eines eigenen Erklärvideos zu einem wissenschaftlichen Diskurs bestand in der Kombination komplexer Theorie gekoppelt an ein praktisches, den Sachverhalt untermauendes Beispiel. In ihren Videos stützen sich die Studierenden zumeist auf eigene Erfahrungen, aus denen zudem ihr Weltverständnis hervorgeht. Das Storytelling zeugt davon, wie die Performativität um die individuelle Lebenswelt und der Prozess der Subjektivierung als Form der Bildung in der populären Kultur zur Wissensaneignung beiträgt.

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2

Ford, Charles. „VISUAL STORYTELLING“. Art History 15, Nr. 4 (Dezember 1992): 533–37. http://dx.doi.org/10.1111/j.1467-8365.1992.tb00505.x.

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3

Hsu, Chao-Chun, Zi-Yuan Chen, Chi-Yang Hsu, Chih-Chia Li, Tzu-Yuan Lin, Ting-Hao Huang und Lun-Wei Ku. „Knowledge-Enriched Visual Storytelling“. Proceedings of the AAAI Conference on Artificial Intelligence 34, Nr. 05 (03.04.2020): 7952–60. http://dx.doi.org/10.1609/aaai.v34i05.6303.

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Stories are diverse and highly personalized, resulting in a large possible output space for story generation. Existing end-to-end approaches produce monotonous stories because they are limited to the vocabulary and knowledge in a single training dataset. This paper introduces KG-Story, a three-stage framework that allows the story generation model to take advantage of external Knowledge Graphs to produce interesting stories. KG-Story distills a set of representative words from the input prompts, enriches the word set by using external knowledge graphs, and finally generates stories based on the enriched word set. This distill-enrich-generate framework allows the use of external resources not only for the enrichment phase, but also for the distillation and generation phases. In this paper, we show the superiority of KG-Story for visual storytelling, where the input prompt is a sequence of five photos and the output is a short story. Per the human ranking evaluation, stories generated by KG-Story are on average ranked better than that of the state-of-the-art systems. Our code and output stories are available at https://github.com/zychen423/KE-VIST.

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Dankova, Desislava. „When visual content met storytelling“. Yearbook of Department Mass Communications 1 (07.10.2020): 137–55. http://dx.doi.org/10.33919/ydmc.19.1.8.

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The current text introduces the idea of communicating through images. The tool is increasingly visible in companies' communication strategies. The prerequisites that lead to the development of this type of communication are discussed, focusing on one of the most used social media – Instagram. A parallel is drawn between the nature of the platform and the ability to find an intersection between visual content and storytelling. At the end of the text, two of the most successful examples from the corporate world are presented and their approach of engaging Instagram followers with the help of experiences in order to convert them into customers while demonstrating the company's philosophy and values.

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Borunda Magallanes, Ismael Antonio. „Gris: metáfora, símbolo y relato en (inter)acción.“ Sincronía XXV, Nr. 80 (03.07.2021): 314–34. http://dx.doi.org/10.32870/sincronia.axxv.n80.15b21.

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Gris, an independent Spanish video game, explores the expressive possibilities of this creative medium through a story that is, on one hand, a symbolic representation of the psychological process of the protagonist, and, on the other hand, a foundational narrative about the loss and recovery of identity. This title employs the expressive tools of the history of art to build its aesthetic proposal; in particular, it is categorically placed in the line of surrealism as an artistic current. The analysis of this elements is realized through fundamental notions of rhetoric and poetics, referencing authors such as Helena Beristáin and Carmen Bobes, and the narrative hermeneutics of Paul Ricoeur, as well as theoretical perspectives that allow building bridges of analysis between literature and the visual arts.

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Haryadi, Toto, und Dimas Irawan Ihya' Ulumuddin. „Penanaman Nilai dan Moral pada Anak Sekolah Dasar dengan Pendekatan Storytelling Melalui Media Komunikasi Visual“. ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 2, Nr. 01 (26.03.2018): 56–72. http://dx.doi.org/10.33633/andharupa.v2i01.1018.

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AbstrakModernisasi tidak selalu membawa perubahan yang lebih baik, contohnya yaitu terjadinya degradasi moral yang tampak pada perilaku generasi muda sekarang dengan maraknya pemberitaan tawuran pelajar yang berujung kematian. Hal ini menjadi tanggung jawab orang tua karena kurangnya perhatian yang cukup untuk anak melalui edukasi nilai dan moral. Padahal, salah satu cara menanamkan nilai dan moral pada anak disampaikan melalui kegiatan storytelling atau mendongeng, yang sudah mulai jarang dilakukan para orang tua. Di sisi lain, perkembangan media komunikasi visual (berwujud cetak dan digital) menciptakan peluang guna menyampaikan nilai dan moral dengan pendekatan storytelling. Dengan menjabarkan kandungan nilai dan moral dari cerita, hal ini bisa menjadi terobosan guna menghidupkan kembali budaya storytelling yang telah ditinggalkan. Kata Kunci: nilai, moral, storytelling, komunikasi visual AbstractModernization does not always bring better change, for example is the moral degradation which can be seen on youth’s behavior by a lot of news about students brawling that caused the death. This problem becomes responsibility for each parent because they do not give enough attention for the children through value and moral education. Where as, a way to give those education is conveyed through telling stories or storytelling which has been forgotten by the parent. On the other hand, the development of visual communication design (in form of printed media and digital one) gives opportunity to tell value and moral education by storytelling approach. By describing value and moral education contents of the stoies, this can become a breakthrough to revive storytelling culture that has been abandoned. Keywords: value, moral, storytelling, visual communication

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7

Boysen, Yvette. „Understand the Power of Visual Storytelling“. Nonprofit Communications Report 17, Nr. 7 (11.06.2019): 3. http://dx.doi.org/10.1002/npcr.31231.

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8

Thompson, Guin, und Durwin Talon. „Using Panels to Shape Visual Storytelling“. International Journal of the Book 7, Nr. 4 (2010): 21–36. http://dx.doi.org/10.18848/1447-9516/cgp/v07i04/36833.

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9

Shannon, G. R., M. Kellen-Taylor und D. Markovich. „TRANSFORMING STORYTELLING LEGACIES INTO VISUAL ART“. Innovation in Aging 2, suppl_1 (01.11.2018): 546. http://dx.doi.org/10.1093/geroni/igy023.2014.

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Gurrieri, Lauren, und Jenna Drenten. „Visual storytelling and vulnerable health care consumers: normalising practices and social support through Instagram“. Journal of Services Marketing 33, Nr. 6 (03.12.2019): 702–20. http://dx.doi.org/10.1108/jsm-09-2018-0262.

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Purpose The purpose of this study is to explore how vulnerable healthcare consumers foster social support through visual storytelling in social media in navigating healthcare consumption experiences. Design/methodology/approach This study employs a dual qualitative approach of visual and textual analysis of 180 Instagram posts from female breast cancer patients and survivors who use the platform to narrate their healthcare consumption experiences. Findings This study demonstrates how visual storytelling on social media normalises hidden aspects of healthcare consumption experiences through healthcare disclosures (procedural, corporeal, recovery), normalising practices (providing learning resources, cohering the illness experience, problematising mainstream recovery narratives) and enabling digital affordances, which in turn facilitates social support among vulnerable healthcare consumers. Practical implications This study highlights the potential for visual storytelling on social media to address shortcomings in the healthcare service system and contribute to societal well-being through co-creative efforts that offer real-time and customised support for vulnerable healthcare consumers. Social implications This research highlights that visual storytelling on image-based social media offers transformative possibilities for vulnerable healthcare consumers seeking social support in negotiating the challenges of their healthcare consumption experiences. Originality/value This study presents a framework of visual storytelling for vulnerable healthcare consumers on image-based social media. Our paper offers three key contributions: that visual storytelling fosters informational and companionship social support for vulnerable healthcare consumers; recognising this occurs through normalising hidden healthcare consumption experiences; and identifying healthcare disclosures, normalising practices and enabling digital affordances as fundamental to this process.

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Zhang, Helen. „Self-Representation and Decolonial Learning in Library Makerspaces“. Pathfinder: A Canadian Journal for Information Science Students and Early Career Professionals 2, Nr. 2 (04.05.2021): 53–69. http://dx.doi.org/10.29173/pathfinder33.

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This paper explores how Indigenous digital storytelling can be used as a mode for self-representation and decolonial learning in library makerspaces. Digital storytelling involves expressing your lived experiences and stories through a dynamic combination of textual and digital literacies. Implementing Indigenous digital storytelling programs allows library makerspaces to show the value of technology, digital and visual literacy, Indigenous Storytelling, and Ways of Knowing by letting Indigenous Peoples represent themselves and their lived experiences. This paper lays the groundwork on how library makerspaces can incorporate Indigenous approaches to digital storytelling. I argue that creating and implementing Indigenous-centered digital storytelling programs helps decolonize makerspace programming. Using integrative literature review methods, I will qualitatively identify the values of Indigenous Storytelling and digital storytelling to see how they interconnect. I examine how Indigenous Peoples have used digital storytelling and what libraries have done to support digital storytelling and Indigenous Storytelling to explore how these practices can be better adopted by library makerspaces.

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Haastrup, Helle Kannik. „Storytelling Intertextuality“. Film International 12, Nr. 1 (01.03.2014): 85–97. http://dx.doi.org/10.1386/fiin.12.1.85_1.

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13

Thudt, Alice, Charles Perin, Wesley Willett und Sheelagh Carpendale. „Subjectivity in personal storytelling with visualization“. Information Design Journal 23, Nr. 1 (20.07.2017): 48–64. http://dx.doi.org/10.1075/idj.23.1.07thu.

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In this article we explore visualization for personal storytelling and investigate techniques for communicating subjective experiences in personal visual narratives. Personal stories are often subjective and storytellers omit, make up, or embellish details to craft engaging stories or to communicate a perspective. As growing personal data collections allow individuals to leverage visualizations, we explore how personal visual narratives can express subjectivity. From an analysis of personal visualizations created by data enthusiasts, designers and artists, we collect techniques for deliberately expressing subjectivity during data collection, processing, visual encoding, and presentation. Our results prompt a discussion about the role and potential of subjectivity in personal visual storytelling.

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Selting, Margret. „Affectivity in conversational storytelling“. Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 20, Nr. 2 (01.06.2010): 229–77. http://dx.doi.org/10.1075/prag.20.2.06sel.

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This paper reports on some recent work on affectivity, or emotive involvement, in conversational storytelling. After presenting the approach, some case studies of the display and management of affectivity in storytelling in telephone and face-to-face conversations are presented. The analysis reconstructs the display and handling of affectivity by both storyteller and story recipient. In particular, I describe the following kinds of resources: - the verbal and segmental display: Rhetorical, lexico-semantic, syntactic, phonetic-phonological resources; - the prosodic and suprasegmental vocal display: Resources from the realms of prosody and voice quality; - visual or "multimodal" resources from the realms of body posture and its changes, head movements, gaze, and hand movements and gestures. It is shown that the display of affectivity is organized in orderly ways in sequences of storytelling in conversation. I reconstruct (a) how verbal, vocal and visual cues are deployed in co-occurrence in order to make affectivity in general and specific affects in particular interpretable for the recipient and (b) how in turn the recipient responds and takes up the displayed affect. As a result, affectivity is shown to be managed by teller and recipient in storytelling sequences in conversation, involving both the reporting of affects from the story world as well as the negotiation of in-situ affects in the here-and-now of the storytelling situation.

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Dhungel, Anita. „Visual Storytelling: Unlearning Gender Stereotyping Inside Classroom“. Journal of NELTA 21, Nr. 1-2 (01.12.2016): 11–22. http://dx.doi.org/10.3126/nelta.v21i1-2.20197.

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This paper introduces ‘stereotype’, ‘prejudice’, and ‘discrimination’, and points out that the three revolve around and remain in a vicious association. Many stereotypical presentations found in educational materials have been explored in the article. the author has stressed the need for developing the qualities of compassion, tolerance, respect for individuals, and preserving their identity through education—so that stereotyping or discriminatory acts can be avoided altogether. Journal of NELTA, Vol. 21, No. 1-2, 2016, Page: 11-22

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Ahn, Seong-Hye, und Young Hur. „Design of Interest Elements in Visual Storytelling“. Journal of the Korea Contents Association 9, Nr. 12 (28.12.2009): 164–72. http://dx.doi.org/10.5392/jkca.2009.9.12.164.

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17

Kim, Yumi, und Jae-Cheol Moon. „Visual storytelling in The Emperor’s New Groove“. TECHART: Journal of Arts and Imaging Science 2, Nr. 4 (30.11.2015): 17. http://dx.doi.org/10.15323/techart.2015.11.2.4.17.

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18

Balduini, Marco, Emanuele Della Valle, Matteo Azzi, Roberto Larcher, Fabrizio Antonelli und Paolo Ciuccarelli. „CitySensing: Fusing City Data for Visual Storytelling“. IEEE MultiMedia 22, Nr. 3 (Juli 2015): 44–53. http://dx.doi.org/10.1109/mmul.2015.54.

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19

Harrington, Micki, Jennifer Ditkoff und Kara Young. „Orientation using visual storytelling and the cloud“. Library Hi Tech News 28, Nr. 4 (07.06.2011): 1–4. http://dx.doi.org/10.1108/07419051111154749.

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20

Gibson, Jennifer. „Text Optiona:l Visual Storytelling with Wordless Picturebooks“. Children and Libraries 14, Nr. 2 (22.06.2016): 3. http://dx.doi.org/10.5860/cal.14n2.03.

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Wordless picturebooks are on the rise and are increasingly revered by readers and critics. In many countries, including the United States, wordless picturebooks have become a sub-genre unto themselves—a publishing trend resulting in author/illustrators who even specialize in this type of book.

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Lord, Anne. „Creative visual art storytelling and concept development“. Journal of Writing in Creative Practice 3, Nr. 3 (01.12.2010): 227–56. http://dx.doi.org/10.1386/jwcp.3.3.227_1.

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22

Moore, Sarah A., Robert E. Roth, Heather Rosenfeld, Eric Nost, Kristen Vincent, Mohammed Rafi Arefin und Tanya M. A. Buckingham. „Undisciplining environmental justice research with visual storytelling“. Geoforum 102 (Juni 2019): 267–77. http://dx.doi.org/10.1016/j.geoforum.2017.03.003.

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23

Sitter, Kathleen C., Natalie Beausoleil und Erin McGowan. „Digital Storytelling and Validity Criteria“. International Journal of Qualitative Methods 19 (01.01.2020): 160940692091065. http://dx.doi.org/10.1177/1609406920910656.

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The authors explore the validity criteria of digital storytelling when applied as a research method in Participatory Health Research. The article begins with an overview of digital storytelling as a participatory visual research method. To demonstrate the validity criteria of digital storytelling, what follows is a reflexive account of a 2-year Participatory Health Research study that used digital storytelling as a research method to investigate treatment experiences among breast cancer patients. The authors offer a suggested summary of validity criteria for digital storytelling when applied to Participatory Health Research and describe the application of participatory, intersubjective, catalytic, contextual, empathic, and ethical validity. The article concludes with a discussion about resources and distribution.

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Sudarmaji, Imam, Agus Mulyana und Karsiyah Karsiyah. „APPLYING DIGITAL STORYTELLING TO IMPROVE INDONESIAN HIGH SCHOOL STUDENTS� VISUAL MEMORY AND WRITING SKILL“. English Review: Journal of English Education 8, Nr. 2 (02.07.2020): 91. http://dx.doi.org/10.25134/erjee.v8i2.2987.

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This study investigated the use of digital storytelling in improving students� visual memory and writing skill of tenth grade students in one of senior high school in Tangerang, Indonesia. A total of 72 students are taken as the sample in the current study. The randomized pretest - posttest control group design was used in the study. Using quasi experimental research-non-equivalent control group design, the students in the experimental groups completed the process through digital storytelling. The students� test and questionnaires were used to collect the data. In order to test whether there was an improvement within groups and to see if there were differences between groups, the hypotheses were tested using the t-test and obtaining gain scores. The result showed that the visual memory and writing skill of students undergoing digital storytelling technique and of those undergoing conventional teaching but no significant differences were found between the two conditions. They had same proficiency, focused and same concentration during the learning process, and the students had many opinions in experimental class. Based on the percentages, students� post-test showed that students� visual memory was more dominant than students� writing skill after applying digital storytelling. Moreover, this research also found that students� learning motivation was very good and created a good of class atmosphere in experimental class during the learning process by using digital storytelling.

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Wetzstein, Irmgard. „The Visual Discourse of Protest Movements on Twitter: The Case of Hong Kong 2014“. Media and Communication 5, Nr. 4 (21.12.2017): 26–36. http://dx.doi.org/10.17645/mac.v5i4.1020.

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The article presents the results of a qualitative documentary image interpretation of the visual discourse of the Hong Kong protests on the Twitter hashtag #hongkongprotests. Visual thematic patterns, the actors depicted, and the relations between actors as well as visual perspectives were analyzed to derive the function of visual images and to give insights into visual protest storytelling. Visuals and image-text relations in Tweets within #hongkongprotests revealed an application of images in clear favor of the protest movement taking an ‘at the scene’/‘on the ground’ perspective, with media workers being active in front of the camera rather than mere observers behind the camera. While the approach used proved to be suitable for the research project, the research design comes with some limitations, for example in terms of the non-generalizability of results.

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GARCIA, ANA CRISTINA BICHARRA, CARLOS EDUARDO CARRETTI, INHAÜMA NEVES FERRAZ und CRISTIANA BENTES. „Sharing design perspectives through storytelling“. Artificial Intelligence for Engineering Design, Analysis and Manufacturing 16, Nr. 3 (Juni 2002): 229–41. http://dx.doi.org/10.1017/s0890060402163086.

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Design consists of analyzing scenarios and proposing artifacts, obeying the initial set of requirements that lead from initial to goal state. Finding or creating alternative solutions, analyzing them, and selecting the best one are expected steps in the designer’s decision making process. Very often, not a sole designer, but a team of them is engaged in the design process, sharing their expertise and responsibility to achieve optimum projects. In a design team, most conflicts occur due to misunderstanding of one’s assessment of specifications and contexts. Decision explanations play a key role in teamwork success. Designers are rational agents trained to follow rational methods. Acceptable justifications include value function, requirements, constraints, and criteria. Generally, explanations are delivered in a multimedia fashion, composed of text, graphics and gestures, to provide the audience the ability to perceive what was contextually imagined. The more spatial the reasoning is, the richer the explanation channel should be. This paper presents CineADD, a design explanation generation model based on cinema techniques such as animation, scripting, editing, and camera movements. The idea is to provide designers with a tool for describing the way their projects should be visually explained, as in a movie. Designers develop their projects in an active design document environment. Rationale is captured as a design model, so explanations can be generated instead of retrieved. The captured design model serves as a base to visually reconstruct design, giving emphasis and guidance by using movie storytelling techniques. CineADD was implemented for the domain of oil pipeline layout showing the feasibility of this approach. We expect CineADD to become a commodity attachable to any intelligent CAD system.

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Reason, Matthew, und Catherine Heinemeyer. „Storytelling, story-retelling, storyknowing: towards a participatory practice of storytelling“. Research in Drama Education: The Journal of Applied Theatre and Performance 21, Nr. 4 (16.08.2016): 558–73. http://dx.doi.org/10.1080/13569783.2016.1220247.

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Clarke, Robert, und Andrea Adam. „Digital storytelling in Australia“. Arts and Humanities in Higher Education 11, Nr. 1-2 (20.06.2011): 157–76. http://dx.doi.org/10.1177/1474022210374223.

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This project explored the experiences of a small sample ( N = 6) of Australian academics with the use of digital storytelling as a pedagogical tool in higher education contexts. This article describes two case studies of academic uses of digital storytelling, along with interpretive analysis of six semi-structured interviews of academics working within media and communication studies and their reflections on the potential of digital storytelling to enhance student learning and the student experience. Three consistent themes emerged, based around issues of definition, the need for ‘constructive alignment’, and resource and planning requirements. Academics regarded digital storytelling as a complement to, not a substitute for, conventional methods of learning and assessment such as the critical research essay. Overall, reservations exist regarding the promise of digital storytelling as a pedagogical tool that some academics have recently claimed for it.

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States, Bert O. „Dreaming and Storytelling“. Hudson Review 43, Nr. 1 (1990): 21. http://dx.doi.org/10.2307/3852328.

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Curry, Jane Kathleen. „Spectacle and Sensation in The Octoroon/An Octoroon“. Nineteenth Century Theatre and Film 46, Nr. 1 (10.02.2019): 38–58. http://dx.doi.org/10.1177/1748372719826895.

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Dion Boucicault's 1859 sensation melodrama The Octoroon; or, Life in Louisiana attracted audiences with emotionally charged situations, such as a slave auction, combined with the visual sensation of a realistic depiction of a scene of spectacular danger, the onstage burning of a steamboat. Branden Jacobs-Jenkins' 2014 adaptation called An Octoroon, while departing significantly from Boucicault's approach to visual storytelling, also uses a visual sensation to create an emotional impact. Jacobs-Jenkins invites an audience to enjoy Boucicault's storytelling, revisiting a melodrama now rarely revived, while simultaneously inviting them to engage with and critique the troubling racial stereotypes of the original.

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Mottahedeh, Patricia Erhart, und Richard Brilliant. „Visual Narratives: Storytelling in Etruscan and Roman Art“. Classical World 79, Nr. 5 (1986): 351. http://dx.doi.org/10.2307/4349925.

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AhnSukHyeon. „Visual images storytelling of TV drama 《Beethoven Virus》“. KOREAN EDUCATION ll, Nr. 85 (August 2010): 749–74. http://dx.doi.org/10.15734/koed..85.201008.749.

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Moser, Heinz, und Thomas Hermann. „Visual Storytelling in Career Counselling – An Ecological Approach“. MedienPädagogik: Zeitschrift für Theorie und Praxis der Medienbildung 24, Educational Media Ecologies (02.10.2014): 174–82. http://dx.doi.org/10.21240/mpaed/24/2014.10.02.x.

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In this paper, we present the concept of the project «Visualized vocational aspirations: Potentials of photography for career counselling and vocational preparation», which is funded by the Swiss National Science Foundation. The research project is a cooperation between the «Zurich University of Teacher Education» («Pädagogische Hochschule Zürich») and the «Laufbahnzentrum» (Centre of Vocational Counselling) Zürich. Vocational education often is largely language-based, which could be a problem for the lower achieving students. Visual stimulation could be a means to support the learning process of this group of at risk learners.

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Gratzl, S., A. Lex, N. Gehlenborg, N. Cosgrove und M. Streit. „From Visual Exploration to Storytelling and Back Again“. Computer Graphics Forum 35, Nr. 3 (Juni 2016): 491–500. http://dx.doi.org/10.1111/cgf.12925.

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Pollini, John, und Richard Brilliant. „Visual Narratives, Storytelling in Etruscan and Roman Art“. American Journal of Philology 106, Nr. 4 (1985): 523. http://dx.doi.org/10.2307/295208.

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Quinlan, Margaret M., Stephanie M. Ruhl, Amanda Torrens und Lynn M. Harter. „Sensing Gender by Coupling Visual and Verbal Storytelling“. Communication Teacher 27, Nr. 1 (Januar 2013): 45–49. http://dx.doi.org/10.1080/17404622.2012.737925.

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Lucas, Kristen, und Jacob D. Rawlins. „PechaKucha Presentations: Teaching Storytelling, Visual Design, and Conciseness“. Communication Teacher 29, Nr. 2 (02.02.2015): 102–7. http://dx.doi.org/10.1080/17404622.2014.1001419.

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Pierce, Mara. „Visual Storytelling in Native American High-Density Schools“. Art Education 71, Nr. 5 (20.08.2018): 34–41. http://dx.doi.org/10.1080/00043125.2018.1482164.

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Botsis, Taxiarchis, Jennifer E. Fairman, Meghan Bridgid Moran und Valsamo Anagnostou. „Visual storytelling enhances knowledge dissemination in biomedical science“. Journal of Biomedical Informatics 107 (Juli 2020): 103458. http://dx.doi.org/10.1016/j.jbi.2020.103458.

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Tirrell, Lynne. „Storytelling and Moral Agency“. Journal of Aesthetics and Art Criticism 48, Nr. 2 (1990): 115. http://dx.doi.org/10.2307/430901.

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TIRRELL, LYNNE. „Storytelling and Moral Agency“. Journal of Aesthetics and Art Criticism 48, Nr. 2 (01.03.1990): 115–26. http://dx.doi.org/10.1111/1540_6245.jaac48.2.0115.

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Yentri Anggeraini. „An Investigation of the Students` Opinion on the Use of Digital Storytelling in Learning English“. ELT-Lectura 7, Nr. 1 (20.02.2020): 47–51. http://dx.doi.org/10.31849/elt-lectura.v7i1.3645.

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Various kinds of technology tools and media can be used to facilitate the leaching and learning English in this era. One of them is digital storytelling. It is a multimedia text including images, audio, or video accompanied by a narrated soundtrack to tell a story or give information. It combines the functions of visual, verbal, and audio those are important for language comprehension and skills. This present study aimed at investigating the students` opinions on the use of digital storytelling in EFL classroom. The questionnaire and interview were distributed to 31 participants as the main data. The results indicated that 84% students like learning English through digital storytelling, 81% of them enjoy presenting and sharing their digital literacy, and 77% of them argue that digital storytelling can motivate them to read a lot. It can be derived that digital storytelling makes the students participate actively during the learning process, allows the students to work collaboratively, and provide the students to be digitally literate.

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Marlar Lwin, Soe. „Capturing the dynamics of narrative development in an oral storytelling performance: A multimodal perspective“. Language and Literature: International Journal of Stylistics 19, Nr. 4 (November 2010): 357–77. http://dx.doi.org/10.1177/0963947010373029.

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This article investigates how the dynamics of narrative development in an oral storytelling performance can be captured so as to explain its aesthetic and communicative effectiveness. In the light of the narratological distinctions between story and discourse, an oral storytelling performance conducted by a professional storyteller in an institution in contemporary society is treated as constituting the story (i.e. content elements such as events, characters, time and location) and the storytelling discourse (i.e. expressive features employed by a storyteller during a storytelling process). It is then examined as an artistic process that ‘exploits’ more than one semiotic channel to evoke a storyworld. The performance-focused multimodal analysis shows how the interplay between verbal, vocal and visual features of the storytelling discourse produces certain interpretations and meanings of the events and characters in the story and how, through such interplay, the audience is encouraged to have relatively uniform cognitive, emotive and evaluative responses which are in line with the values and messages of the institution in/for which a particular storytelling performance is conducted. A performance-focused multimodal analysis is, therefore, suggested for capturing the dynamics of narrative development in an oral storytelling performance and for uncovering its aesthetic and communicative effectiveness.

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Arianti, Andini Setya. „DRAWING STYLES VISUAL ANALYSIS OF INDONESIAN ACTION COMICS“. ARTic 3 (15.03.2019): 93–101. http://dx.doi.org/10.34010/artic.2019.3.2484.93-101.

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Comics are one of popular storytelling media which combines images and text, and is read through spesific order. Far before it was known as “comic”, Indonesia already has several forms of storytelling, such as Wayang Beber and relief on Borobudur’s temple. This forms are later known as comics, which evolve through times in Indonesia. Indonesian comics received many influences from other countries. Indonesian comics received most influences from America and Japan. These influences are seen on its storytelling, and also, its drawing style. The comics being analyzed on this thesis are those with action genre, also known as “komik silat” in the past, because this genre is one of the most popular genre. There are two titles picked to be analyzed, one is “Pandji Tengkorak”, which represents older generation comic, and “Raibarong”, which represent a more modern comic. To understand how indonesian comics grows throughout times and the factors behind its growth, this research uses qualitative analysis and descriptive-comparative along with study case as its approach. The result shows the differences between drawing style of the two comics, caused by the trends existing on their respective eras. Internal factors such us the authors personal preferences and media used to create the comics also further influences their drawing styles.

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Arianti, Andini Setya. „DRAWING STYLES VISUAL ANALYSIS OF INDONESIAN ACTION COMICS“. ARTic 3 (15.03.2019): 93–101. http://dx.doi.org/10.34010/artic.v3i0.2484.

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Comics are one of popular storytelling media which combines images and text, and is read through spesific order. Far before it was known as “comic”, Indonesia already has several forms of storytelling, such as Wayang Beber and relief on Borobudur’s temple. This forms are later known as comics, which evolve through times in Indonesia. Indonesian comics received many influences from other countries. Indonesian comics received most influences from America and Japan. These influences are seen on its storytelling, and also, its drawing style. The comics being analyzed on this thesis are those with action genre, also known as “komik silat” in the past, because this genre is one of the most popular genre. There are two titles picked to be analyzed, one is “Pandji Tengkorak”, which represents older generation comic, and “Raibarong”, which represent a more modern comic. To understand how indonesian comics grows throughout times and the factors behind its growth, this research uses qualitative analysis and descriptive-comparative along with study case as its approach. The result shows the differences between drawing style of the two comics, caused by the trends existing on their respective eras. Internal factors such us the authors personal preferences and media used to create the comics also further influences their drawing styles.

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Mallan, Kerry. „‘The Yeti's on the other Side’: The Narrative Nature of Children's Play“. Australasian Journal of Early Childhood 23, Nr. 1 (März 1998): 16–21. http://dx.doi.org/10.1177/183693919802300105.

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This paper considers the narrative function of children's play by focusing on interwoven elements of story, imagination, and visual expression. It is argued that both story and play are important features of children's lives. When children engage in storytelling they are participating in a form of play which brings into account both their knowledge of the world and their knowledge of narrative conventions. Context is seen as an important factor in shaping and constraining the stories children tell. The paper concludes that storytelling has the potential to enhance literacy and, therefore, children's oral storytelling in classrooms needs to be encircled.

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Husada, Syahda Puspita, Taufina Taufina und Ahmad Zikri. „Pengembangan Bahan Ajar Pembelajaran Tematik dengan Menggunakan Metode Visual Storytelling di Sekolah Dasar“. Jurnal Basicedu 4, Nr. 2 (13.04.2020): 419–25. http://dx.doi.org/10.31004/basicedu.v4i2.373.

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Penelitian ini bertujuan untuk menghasilkan bahan ajar tematik dengan metode storytelling untuk pendidik kelas V yang valid, praktis, dan efektif. Penelitian ini menggunakan penelitian pengembangan berdasarkan model 4D (Define, Design, Develop dan Disseminate). Kevalidan dilhat dari segi isi, bahasa, penyajian, kegrafikaan dan RPP, keseluruhan 85. % dengan kategori valid. Pratikalitas bahan ajar dilihat dari respon pendidik, 90 % respon peserta didik 90 %. Dapat disimpulkan bahwa bahan ajar tematik menggunakan metode visual storytelling yang dikembangkan layak digunakan di kelas V SD.

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Luke, K. K. „Storytelling in multiple contexts“. Chinese Language and Discourse 7, Nr. 2 (14.12.2016): 297–340. http://dx.doi.org/10.1075/cld.7.2.05luk.

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Since Sacks’ pioneering work in the 1970s, storytelling has become a favourite topic of research within conversation analysis. Scholars have examined storytelling from the point of view of sequential organization (Jefferson 1978), participation organization (Goodwin 1984), story co-telling (Duranti 1986, Mandelbaum 1987, Lerner 1992), displays of epistemic statuses (Schegloff 1988), and action formation (M. Goodwin 1982, 1990; Mandelbaum 1993; Beach 2000; Beach & Glenn 2011; Wu 2011, 2012). Work has also been done on the management of storytelling in the context of other, concurrent activities (Goodwin 1984, Goodwin & Goodwin 1992, Mandelbaum 2010, Haddington et al. 2014). The aim of this paper is to apply the many insights that researchers have accumulated since Sacks to the analysis and understanding of a single instance of storytelling in a Cantonese conversation. A detailed, step-by-step unpacking of this story will reveal how the contingencies of an interaction, including the interplay of multiple contexts, may leave fine-grained imprints on the shape and character of a story.

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Lanszki, Anita, und Nóra Kunos. „The use of digital storytelling to address school-related burnout among 10-11 grade students“. Journal of Educational Sciences 43, Nr. 1 (15.07.2021): 3–17. http://dx.doi.org/10.35923/jes.2021.1.01.

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The paper presents how digital storytelling was used as an empowerment tool among high school students diagnosed with school-related burnout (N = 13) in Hungary. The aim of applying digital storytelling was to change students’ time perspective, which was measured with Stanford Time Perspective Inventory before and after the digital storytelling intervention. The creative method allowed students to express their personal school experiences on verbal and visual levels while using digital technologies. The outcomes of the digital storytelling process were first-person video narratives, which presented the school career and self-reflections of students in a very expressive and touching way. Students’ temporal profile changed after the digital storytelling intervention; they became future-oriented. In most cases, students reflected on their past and present experiences at school, and they found a solution and developed a perspective for their future educational career. Digital storytelling as a complex arts-based method had a positive effect on students. While working on the project, the change of students’ time perspectives (Zimbardo & Boyd, 2008) from pastnegative and present-fatalistic to future-oriented was measured, which helped all the participants find a way to be more determined and optimistic.

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Wang, Ruize, Zhongyu Wei, Piji Li, Qi Zhang und Xuanjing Huang. „Storytelling from an Image Stream Using Scene Graphs“. Proceedings of the AAAI Conference on Artificial Intelligence 34, Nr. 05 (03.04.2020): 9185–92. http://dx.doi.org/10.1609/aaai.v34i05.6455.

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Visual storytelling aims at generating a story from an image stream. Most existing methods tend to represent images directly with the extracted high-level features, which is not intuitive and difficult to interpret. We argue that translating each image into a graph-based semantic representation, i.e., scene graph, which explicitly encodes the objects and relationships detected within image, would benefit representing and describing images. To this end, we propose a novel graph-based architecture for visual storytelling by modeling the two-level relationships on scene graphs. In particular, on the within-image level, we employ a Graph Convolution Network (GCN) to enrich local fine-grained region representations of objects on scene graphs. To further model the interaction among images, on the cross-images level, a Temporal Convolution Network (TCN) is utilized to refine the region representations along the temporal dimension. Then the relation-aware representations are fed into the Gated Recurrent Unit (GRU) with attention mechanism for story generation. Experiments are conducted on the public visual storytelling dataset. Automatic and human evaluation results indicate that our method achieves state-of-the-art.

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