Journal articles on the topic 'Multimedia Narratives'
To see the other types of publications on this topic, follow the link: Multimedia Narratives.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Multimedia Narratives.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Barot, Camille, Michael Branon, Rogelio Cardona-Rivera, Markus Eger, Michelle Glatz, Nancy Green, James Mattice, et al. "Bardic: Generating Multimedia Narratives for Game Logs." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 13, no. 2 (June 25, 2021): 154–61. http://dx.doi.org/10.1609/aiide.v13i2.12987.
Full textAbstract:
In this paper we present the system called Bardic, which was developed over three years as the core technology in the Narrative for Sensemaking project, an effort to automatically generate narrative from low-level event data as an aid for sense making. At its core, Bardic is a narrative report generator that uses a logic-based language torepresent a story based on event/activity logs. Bardic generates different types of narrative discourse designed to convey different aspects of the underlying data. The system consists of aUnity application that allows users to explore generated stories and select parts of the stories to analyze in detail. In addition to its narrative generation capabilities, the application provides visualization and querycapabilities. In this paper we provide screen shots of the application in use, show examples of narrative output produced by Bardic, detail how Bardic generates its output, and discuss the current system's capabilities and limitations.
2
Giannoukakis, Marinos. "Narrative in Form: A topological study of meaning in transmedial narratives." Organised Sound 21, no. 3 (November 11, 2016): 260–72. http://dx.doi.org/10.1017/s1355771816000236.
Full textAbstract:
This article is an attempt to demonstrate the relation between appreciation of morphology and structure in form on the one hand, with higher symbolic structures – crucial for meaning formation routines – on the other, and to evaluate their significance in transmedial narratives, primarily in the case of media-based artworks. The use of catastrophe theoretical models to classify forms, their structure and dynamics is proposed, and the question of how these models can give us insight into the meaning that is carried through transmedial narratives (referential or abstract) is examined. Finally, the value of these insights for the composition and practice-based analysis of multimedia art forms is demonstrated.
3
Tymchuk, Larysa. "ETHICAL DIMENSIONS OF CREATIVITY IN DESIGNING OF DIGITAL NARRATIVES." Aesthetics and Ethics of Pedagogical Action, no. 14 (September 9, 2016): 191–201. http://dx.doi.org/10.33989/2226-4051.2016.14.171616.
Full textAbstract:
The article deals with the problem of an individual’s creative expression in the process of design of digital narratives, analyzes the categories of creativity, innovation, and defines properties of creative work and related copyright issues on multimedia, web pages, digital humanistic education projects, including digital narratives. The approaches to the definition of creative works in the digital space, including: originality, individuality, innovation, aesthetic and artistic value, social significance, are characterized.The article gives valuable information on the problem of creativity in scientific context of using digital technologies by analyzing the following categories: high creativity; creativity revealed in the works; creativity as a form of an activity; creativity as a cognitive process. The article highlights the characteristic properties of a digital creature (multimedia presentation, digital narrative, computer program, and website): innovation, originality, lack of imitation, availability of specific individual properties, rare occurrence of such works; aesthetic and artistic value; social significance.Under Ukrainian law copyright issues that apply to all types of digital narrative, web pages, audio-visual materials (as well as visual and audio), computer programs are considered. The works that are considered to be creative and liable to legal protection in terms of copyright include: various types of digital narratives, computer programs, web pages, audio-visual materials characterized by individuality, originality, and independence. The ability to generate ideas, creative work, and originality of thought are revealed in these works.The principles of creativity in the design of digital narratives are defined: creative self-actualization is done by designing the content of the information message through digital technologies; digital narrative enables the presentation of one’s own “I”, i.e. thought placement of network photos, graphics, texts, video and audio recordings; digital narratives stimulate the recipients of digital creature the emergence of various kinds of possible reflexive reactions; future Masters of Education should be able to creatively design digital narratives for use them in professional activity to stimulate the development of abilities of students; the compliance of copyright acquires special significance.
4
Blasch, Erik P., Steven K. Rogers, Hillary Holloway, Jorge Tierno, Eric K. Jones, and Riad I. Hammoud. "QuEST for Information Fusion in Multimedia Reports." International Journal of Monitoring and Surveillance Technologies Research 2, no. 3 (July 2014): 1–30. http://dx.doi.org/10.4018/ijmstr.2014070101.
Full textAbstract:
Qualia-based Exploitation of Sensing Technology (QuEST) is an approach to create a cognitive exoskeleton to improve human-machine decision quality. In this paper, the authors present QuEST-motivated man-machine information fusion with an example for multimedia narratives. User-based situation awareness includes both elements of external sensory perception and internal cognitive explanation. The authors outline QuEST elements and tenets towards a reasoning approach that achieves human intelligence amplification (IA) in relation to data aggregation from machine artificial intelligence (AI). In a use case example for multimedia exploitation, they showcase the need for enhanced understanding of the man (mind-body cognition) and the machine (sensor-based reasoning) for establishing a cohesive narrative of situational activities. QuEST tenets of structurally coherent, situated conceptualization, and simulated experience are utilized in organizing multimedia reports of Video Event Segmentation by Text (VEST).
5
Barboza, Eduardo Fernando Uliana, and Ana Carolina Araújo Silva. "Infografia multimídia: possibilidades interativas de um novo gênero ciberjornalístico | Multimedia infographics: interactive possibilities of a new online journalistic genre." InfoDesign - Revista Brasileira de Design da Informação 14, no. 3 (December 31, 2017): 340–52. http://dx.doi.org/10.51358/id.v14i3.557.
Full textAbstract:
Este artigo discute a classificação da infografia multimídia como um novo gênero jornalístico, mais especificamente, um gênero do ciberjornalismo. Tal classificação tem como base as características multimídia dos infográficos em questão, especialmente com relação às possibilidades interativas deste novo tipo de narrativa jornalística, que as diferem das narrativas tradicionais impressas. A pesquisa tem como base referências como Ramón Salaverría, Rafael Cores, Valero Sancho, José de Pablos, Carlos Abreu Sojo e as brasileiras Beatriz Ribas e Tattiana Teixeira, que se debruçaram sobre o tema e definem a infografia como um novo gênero jornalístico. A partir desta constatação, este artigo aponta para a especificidade da infografia multimídia como gênero do ciberjornalismo, evidenciando suas principais características como multimidialidade, hipertextualidade, interatividade e narrativa não-linear.__________This paper discusses the classification of multimedia infographics as a new journalistic genre, more specifically, a genre of online journalism. This classification is based on the multimedia features of infographics in question, especially with respect to the interactive possibilities of this new kind of journalistic narrative that differ from traditional print narratives. The research is based on references such as Ramón Salaverría, Rafael Cores, Valero Sancho, José de Pablos, Carlos Abreu Sojo and the Brazilians Beatriz Ribas and Tattiana Teixeira, who have studied the issue and define the infographics as a new journalistic genre. From this finding, this paper points to the specificity of multimedia infographics as a genre of online journalism, highlighting its main features as multimediality, hypertextuality, non-linear and interactive narrative.
6
Heng, Terence. "Recent Methodological Opportunities in Online Hypermedia – a Case Study of Photojournalism in Singapore." Sociological Research Online 16, no. 2 (June 2011): 59–72. http://dx.doi.org/10.5153/sro.2381.
Full textAbstract:
This methodological paper reviews the recent work done by photojournalists in Singapore who have leveraged on the use of multimedia to create meaning-rich narratives of the social situations they investigate. Using an online multimedia project recently launched by journalists and photojournalists in Singapore, I will show how photographers’/photojournalists’ expertise, knowledge and combination of text and photographs serve to exemplify the opportunities that hypermedia affords to sociologists, and argue that hypermedia presentations are particularly useful in extending auto/biographical narratives, encouraging collaborative research, as well as interrogating the everyday social lives of our informants.
7
Angova, Stela. "Contemporary Narrative – Context and Manifestations." Postmodernism Problems 10, no. 1 (April 2, 2020): 1–2. http://dx.doi.org/10.46324/pmp2001001.
Full textAbstract:
The first issue of the Postmodernism Problems for 2020 is dedicated to the contemporary narrative. The publishers approved the topic in January when our lives followed a familiar rhythm of work and the number assembled in a state of emergency. The context and manifestations of the narrative go through the exploration of the new hybrid oral-writing formation through the VoIP application Viber, a narrative analysis of one of the cultural icons of Japanese cinema - Godzilla, cyberbullying as a contemporary narrative form of aggressiveness, the use of multimedia narrative for different business sectors, crisis narrative, narrative through smart technologies and the phenomenology of virtual narratives.
8
Sidorenko-Bautista, Pavel, José María Herranz de la Casa, and Juan Ignacio Cantero de Julián. "Use of New Narratives for COVID-19 Reporting: From 360º Videos to Ephemeral TikTok Videos in Online Media." Tripodos 1, no. 47 (February 5, 2021): 105–22. http://dx.doi.org/10.51698/tripodos.2020.47p105-122.
Full textAbstract:
The disruptive evolution of technology has impacted on all aspects of communication. Consequently, various alternatives are being developed for storytelling, delivering messages, and connecting to people. The evolution of social media and multimedia technologies is evident. Since 2014, we have witnessed changes both in the concept of immersion over the 360º format and virtual reality. Such changes aim at much closer proximity between user and content, strengthening possible empathic bonds. Even so, emerging audiences, especially Generation Z, spend time in digital environments that do not support this type of content. As a consequence, their interactions and multimedia behavior focus on vertical, ephemeral content, rendering TikTok as an innovative alternative with a significant growth trend. This study proposes a review of media outlets and journalists’ work reporting on the COVID-19 pandemic using 360º multimedia narratives and TikTok. Research shows evidence of the limited use of the immersive multimedia format and the increase of productions in the ephemeral vertical format of TikTok —whose audience reach has grown significantly. Keywords: COVID-19, 360 video, ephemeral video, journalism, Generation Z.
9
Brushwood Rose, Chloë, and Bronwen Low. "Exploring the ‘craftedness’ of multimedia narratives: from creation to interpretation." Visual Studies 29, no. 1 (January 2, 2014): 30–39. http://dx.doi.org/10.1080/1472586x.2014.862990.
Full text
10
Lima Junior, Walter Teixeira, and Eduardo Fernando Uliana Barboza. "Multimedia Infographics as Journalistic Narratives and the Possibilities of Html5." Brazilian Journalism Research 11, no. 2 (December 19, 2015): 222–43. http://dx.doi.org/10.25200/bjr.v11n2.2015.854.
Full text
11
Zabalueva, Olga. "Multimedia Historical Parks and the Heritage-based “Regime of Truth” in Russia." Culture Unbound 14, no. 2 (July 7, 2022): 83–106. http://dx.doi.org/10.3384/cu.3975.
Full textAbstract:
This article focuses on the 2013–2016 exhibitions in Moscow Manege which were later transformed into a network of entertainment centres (“historical parks”) Russia––my (hi)story. The exhibitions are built on multimedia technologies and include no authentic artefacts/museum objects. There is a growing network of such centres all over Russia, all organized in a similar manner, appealing to the visitor’s emotions and creating a relation of affect through the unravelling of a nationalistic historical narrative. Claimed to present “the objective picture of the Russian history” the exhibitions are following the recent developments in Russian cultural policies and history curricula. By analysing narratives presented at the “historical park” exhibitions, in policy documents and in media, this article follows the changes in public attitude towards history, which heritage is perceived as ‘difficult’ and ‘contested’ and how the digital representations influence these perceptions. Based on this analysis I argue that the reduction of the museum mechanism to only digital and multimedia form can bring along very serious issues in different political contexts. Russian historical parks enterprise, which combines the methods of fostering patriotism by the means of historical narrative templates both from the 19th and the 20th centuries, enhanced with the 21st-century technology in a form of “multimedia museums,” is only one of such examples.
12
Woodgate, Derek. "Immersive spatial narratives as a framework for augmenting creativity in foresight-based learning systems." On the Horizon 27, no. 2 (June 3, 2019): 57–71. http://dx.doi.org/10.1108/oth-11-2018-0033.
Full textAbstract:
Purpose The ability to project oneself into a future landscape is a critical aspect for studying and practicing the science of foresight and foresight-based learning systems. The purpose of this paper is to discuss how we can construct immersive spatial narratives through multimedia-enhanced learning approaches, to increase deeper learner immersion and levels of creativity to transport the learner into a simulated 2030 landscape by reducing the distance between the projected reality and the Self. Design/methodology/approach The author designed a foresight-based course on the Future of Mobile Learning underpinned by a new learning system that embraced the concept of immersive spatial narratives, combining physical, virtual and cognitive learning spaces, which enable students to explore complex, undiscovered or unstructured knowledge. Practicing was carried out on 35 students who had completed the course during the preceding three years through a questionnaire and interviews to establish increased levels of creativity in a simulated future landscape. Findings The paper established that the addition of multimedia learning environments and tools to foresight-based learning creates immersive spatial narratives that increase creativity and learner ability to project him/herself into a simulated future landscape. In all, 75 per cent of the respondents stated that having to think about the future and place themselves in a practicing landscape increased their creative skills. Originality/value A new, foresight-based learning system driven by the concept of immersive spatial narratives, enhanced with student-created multimedia learning tools. The system demonstrated how this approach helps to increase learner creativity and the ability to transition from their Present Self to their Future Self.
13
Secko, David M., Stephany Tlalka, Morgan Dunlop, Ami Kingdon, and Elyse Amend. "The unfinished science story: Journalist–audience interactions from the Globe and Mail’s online health and science sections." Journalism 12, no. 7 (September 8, 2011): 814–31. http://dx.doi.org/10.1177/1464884911412704.
Full textAbstract:
Science journalists are increasingly confronted with the ability of audiences to comment on science stories, create and share multimedia content, and blog about science. Yet, there is a surprising lack of literature exploring the narrative impacts of such changes on science journalism. To fill this gap, this article draws on the concept of the ‘unfinished’ science story to provide a narrative analysis of story-commentary sets from a Canadian newspaper (the Globe and Mail). It shows how the authority to ‘finish’ a scientific narrative now faces: (1) the opening up of science journalism narratives to raw experience; (2) the reframing of issues by audience comments; (3) the emergence of a journalists–audience ‘stress test’; and (4) the heavy existence of negative commentary.
14
Mahdalena, Mahdalena, Indri Astuti, and Dede Suratman. "The Multimedia Development for Learning Outcomes of Fraction Concept in Third Grade Of SDN 41 Sungai Ambawang." JP2D (Jurnal Penelitian Pendidikan Dasar) UNTAN 2, no. 2 (October 15, 2019): 57. http://dx.doi.org/10.26418/jp2d.v2i2.70.
Full textAbstract:
The main problem in this research is the difficulty of learning media procurement in math, especially on fractional concept material. Many learners have difficulty understanding fractions because learning tends to use a mechanistic way of giving rules directly to be memorized, remembered, and applied so that learners will quickly forget the fractional concepts, and it will be challenging to apply the concept. The results of this research are: (1) multimedia design is carried out through stages such as conducting preliminary research, designing, material collection, initial product development, material expert validation, media expert and design expert, (2) multimedia profile depicted in the storyboard contains the forms of drawings accompanied by explanations or narratives used in the process of producing multimedia programs, so that in the process of producing multimedia programs will be more structured and orderly, (3) students implement multimedia learning with enthusiasm, it looks more enthusiastic learners in the implementation of learning so that learners are more independent and active, and (4 Learning outcomes of learners who use multimedia, this can be seen from the differences in learning results fractional concepts between before learning and after learning to use multimedia.
15
denton, kirk a. "museums, memorial sites and exhibitionary culture in the people's republic of china." China Quarterly 183 (September 2005): 565–86. http://dx.doi.org/10.1017/s0305741005000366.
Full textAbstract:
this article presents an overview of post-mao museum representations of modern chinese history. the focus is on changing exhibitionary practices and historical narratives in prc history museums in the period of market reforms and globalization. it shows how new museum architecture, the place of museum buildings in the cityscape and new exhibitionary technologies (such as multimedia displays, dioramas, miniatures) are tied to new narratives of history that serve the interests of the ideology of market reform. conventional socialist narratives of martyrdom and revolutionary liberation have not disappeared by any means, but they are being reshaped to downplay class issues and to legitimize commercial interests, a work ethic ideology and nationalism.
16
Graziano, Teresa. "Smart Technologies, Back-to-the-Village Rhetoric, and Tactical Urbanism." International Journal of E-Planning Research 10, no. 2 (April 2021): 80–93. http://dx.doi.org/10.4018/ijepr.20210401.oa7.
Full textAbstract:
This viewpoint article is aimed at critically scrutinizing both institutional and bottom-up narratives about post-COVID planning scenarios in Italy. Through a critical multimedia discourse analysis, the article tries to deconstruct the most recurring narratives about the future of cities in Italy, particularly those interlacing smart city rhetoric with alternative models of settlements and “soft” planning micro-actions, in order to highlight both conflictual perspectives and new potential paths to follow for a more inclusive tech-led urban development.
17
Pardo Abril, Neyla Graciela. "Storytelling: representaciones mediáticas de las memorias en Colombia." Pragmática Sociocultural / Sociocultural Pragmatics 8, no. 1 (June 25, 2020): 1–40. http://dx.doi.org/10.1515/soprag-2020-0004.
Full textAbstract:
AbstractCollective memories are multiple discursive practices, in which social representations about a common past are used to build and maintain cohesion and identity of groups socio-historically located at a socio-culturally determined moment and to project future in frameworks of rights and dignity. It is understood that the memories articulated to the Colombian armed conflict are diverse: different stories of violence, oppression and resistance of peoples, communities and groups are identified and made explicit. Thirty media narratives distributed in the ElTiempo.com Special “Thirty encounters with peace” (2017) comprise the universe of research. The sample is made up of seven narratives that propose the sense of testimony. The selected format is storytelling, which is built in the special edition of the newspaper as a communication proposal for the reconstruction of the social fabric, within the year after the signing of the Peace Agreement between the National Government and the FARC-EP (post-agreement). The research is nucleated on situations of rights violations linked to the conflict, and the proposals derived from these narratives, as regards the overcoming of the exercises of violence to which they refer. The analysis is assumed from the principles of Multimodal and Multimedia Critical Discourse Studies (MMCDS). The forms of representation in the discourses, their multimodal articulations and the multimedia implications in the production of meanings are articulated; the final aim is to derive sociopolitical consequences of the discursive proposal, constructed and socialized in the narratives of the special edition of the newspaper.
18
Iseke‐Barnes,, Judy. "Readings of Cultural Narratives of Diet, Technology and Schooling in Multimedia Stories." Discourse: Studies in the Cultural Politics of Education 20, no. 3 (December 1999): 409–26. http://dx.doi.org/10.1080/0159630990200305.
Full text
19
Mangual Figueroa, Ariana, and Wendy Barrales. "Testimonio and Counterstorytelling by Immigrant-Origin Children and Youth: Insights That Amplify Immigrant Subjectivities." Societies 11, no. 2 (April 21, 2021): 38. http://dx.doi.org/10.3390/soc11020038.
Full textAbstract:
This article seeks to amplify our scholarly view of immigrant identity by centering the first-person narratives of immigrant-origin children and youth. Our theoretical and methodological framework centers on testimonio—a narrative practice popularized in Latin American social movements in which an individual recounts a lived experience that is intended to be representative of a collective struggle. Our goal is to foreground first-person narratives of childhood as told by immigrant-origin children and youth in order to gain insight into what they believe we should know about them. We argue for the power of testimonio to communicate both extraordinary hardship and everyday experiences and that—through this storytelling—immigrant-origin children and youth also express imagined futures for themselves and their loved ones. Through our analysis of ethnographic recordings of testimonio shared by Latin American immigrant children and multimedia testimonios created by immigrant-origin adolescents with roots in the Caribbean and West Africa, we gain a fuller understanding of immigrant subjectivities and push the boundaries of “the immigrant experience” still prevalent in mainstream discussions today.
20
Lee, Sung-Ae. "Adaptations of Time Travel Narratives in Japanese Multimedia: Nurturing Eudaimonia across Time and Space." International Research in Children's Literature 7, no. 2 (December 2014): 136–51. http://dx.doi.org/10.3366/ircl.2014.0128.
Full textAbstract:
To displace a character in time is to depict a character who becomes acutely conscious of his or her status as other, as she or he strives to comprehend and interact with a culture whose mentality is both familiar and different in obvious and subtle ways. Two main types of time travel pose a philosophical distinction between visiting the past with knowledge of the future and trying to inhabit the future with past cultural knowledge, but in either case the unpredictable impact a time traveller may have on another society is always a prominent theme. At the core of Japanese time travel narratives is a contrast between self-interested and eudaimonic life styles as these are reflected by the time traveller's activities. Eudaimonia is a ‘flourishing life’, a life focused on what is valuable for human beings and the grounding of that value in altruistic concern for others. In a study of multimodal narratives belonging to two sets – adaptations of Tsutsui Yasutaka's young adult novella The Girl Who Leapt Through Time and Yamazaki Mari's manga series Thermae Romae – this article examines how time travel narratives in anime and live action film affirm that eudaimonic living is always a core value to be nurtured.
21
Kucirkova, Natalia. "Theorising materiality in children’s digital books." Libri et liberi 8, no. 2 (December 4, 2019): 279–92. http://dx.doi.org/10.21066/carcl.libri.8.2.2.
Full textAbstract:
Participatory literacies are new ways of experiencing narratives and of “interpreting, making, sharing and belonging in increasingly globally and digitally mediated cultures” (Wohlwend 2017a: 62). This paper discusses the material features of children’s digital books and the extent to which they support participatory literacies. The material features of digital books are conceptualised in terms of their external and internal properties. Based on a theoretical discussion and empirical observations it is argued that specific internal material properties of children’s digital books, namely their interactivity and multimedia, are uniquely positioned to support participatory literacies and are therefore a site of novelty in children’s experiences of narratives.
22
T. Palomino, Paula, Armando M. Toda, Wilk Oliveira, Luiz Rodrigues, and Seiji Isotani. "Teaching Interactive Fiction for Undergraduate Students with the Aid of Information Technologies: An Experience Report." RENOTE 17, no. 3 (December 31, 2019): 527–36. http://dx.doi.org/10.22456/1679-1916.99537.
Full textAbstract:
This paper presents an experience report concerning the use of a platformcalled “Storium” in the subject of “Interactive Fiction” for undergraduatestudents, from a Digital Design Course. The objective was to use the learningtheories of constructivism and multimedia learning to create an instructionalplan devised to teach the students how to create complex interactive narrativesand stories from a practical perspective. During the course, the students learnedthe subject’s theoretical concepts and applied them directly, creating their owninteractive fiction. The results from this research proposes a new approach, usingdigital tools whose resources provides an environment for the creation ofinteractive narratives. These narratives can be used to aid future designs ofinstructional plans for complex writing concepts.
23
Chik, Alice. "Beliefs and practices of foreign language learning: A visual analysis." Applied Linguistics Review 9, no. 2-3 (May 25, 2018): 307–31. http://dx.doi.org/10.1515/applirev-2016-1068.
Full textAbstract:
AbstractThis paper analyzes visual and multimedia narratives produced by learners of different age groups and linguistic and cultural backgrounds to explore (a) their beliefs and practices of foreign language learning; and (b) visual metaphors used by learners in hand-drawn and computer-mediated texts. The texts were collected from language learners from primary school to university in Sydney, Berlin, and Hong Kong. These learner narratives add new dimensions to our understanding of learners’ beliefs and practices: what learners think learning a particular language involves, what they hold to be true and what they actually do. While using interviews and written texts is an established practice in narrative inquiry research, only a few studies have adopted visual data. The findings point to three implications. First, drawing instructions to learners directly influenced how learners represent their learner beliefs. Second, while self-composed language portraits and photographs encourage reproduction of meanings across modes, stock visuals are more likely to be used to create juxtaposed meanings. Finally, the idea of kawaii was used as a visual metaphor when discussing negative emotions, which may point to a new component in digital and visual expression.
24
Rubilar Donoso, Gabriela. "NARRATIVES AND BIOGRAPHICAL APPROACH. USES, SCOPE AND CHALLENGES FOR INTERDISCIPLINARY RESEARCH." Enfermería: Cuidados Humanizados 6, Especial (October 27, 2017): 76. http://dx.doi.org/10.22235/ech.v6iespecial.1454.
Full textAbstract:
This article reviews the scope and potential of research done using a biographical approach and the role that this approach adopts in giving voice to experiences lived by the subjects. Special emphasis is placed on the use of narratives to construct life stories, histories and testimonies, incorporating elements for a discussion about their use and enhancement as an approach for research and intervention. This article is written from an interdisciplinary perspective, recognizing the strengths of this approach that can be applied to diverse disciplines within social sciences, humanities and health sciences. This paper analyzes the trends that have influenced in studies from a biographical approach, considering historical and epistemological aspects. This is particularly relevant for disciplines related to human care, such as Nursing or Social Work that deal with narratives of participants who have faced situations of pain or illness. The narrative-biographical approach allows us to retrieve these histories and to contribute to the memories of people willing to narrate their experiences. The article concludes by examining the contemporary uses of this approach both in research and in social interventions. Current challenges related to this approach are discussed and also the possibility of combining it with multimedia devices and the use of information technology.
25
Alonso, Isabel, Silvia Molina Plaza, and Maria Dolores Porto Requejo. "Multimodal digital storytelling." Review of Cognitive Linguistics 11, no. 2 (November 28, 2013): 369–87. http://dx.doi.org/10.1075/rcl.11.2.10alo.
Full textAbstract:
Digital stories are a very recent multimedia practice by which ordinary people construct short narratives on personal affairs combining voice, images and sometimes music. This paper contributes to the description of this new emergent genre from both a multimodal and a cognitive point of view, by exploring how diverse semiotic channels in digital storytelling provide different kinds of information (factual, emotional, cultural, etc.) which are finally integrated to construct the global meaning of the narrative. For this purpose, we combine Kress and Van Leeuwen’s (1996) scholarly work related to multimodal representation, with the use of some notions of the Mental Spaces and Conceptual Integration theory (Dancygier, 2008; Fauconnier & Turner, 2002). The results of this study are of interest to those concerned with the representational and communicational modes of semiotic resources in storytelling.
26
López-Pellisa, Teresa. "El síndrome de Narciso y el autor como avatar postorgánico en las narrativas del futuro: Carmen Boullosa y Álex Rivera." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 27 (January 3, 2017): 147. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2017271546.
Full textAbstract:
En este artículo se reflexiona sobre las posibilidades de las narrativas del futuro a partir de tres textos de ciencia ficción: El cielo de la Tierra (1997) y La novela perfecta (2006) de Carmen Boullosa, y la película Sleep Delaer (2008) de Álex Rivera. Estos autores proponen narraciones de realidad virtual en las que el autor es el protagonista de una autobiografía multimedia que le permite exhibir sus vivencias en la Red (síndrome de Narciso). Y los lecto-usuarios se conectan a los avatares de estos autores para vivir en primera persona sus narraciones. El lenguaje literario se transforma en un lenguaje polisensorial proponiendo otro tipo de literatura ¿del futuro? This article reflects on the possibilities of future narratives from three science fiction texts: El cielo de la Tierra (1997) and La novela perfecta (2006) by Carmen Boullosa, and the film Sleep Delaer (2008) by Álex Rivera. These authors propose stories of virtual reality in which the author is the protagonist of a multimedia autobiography that allows him to exhibit his experiences on the Net (Narcissus syndrome). And the lecto-users connect to the avatars of these authors to live their stories in first person. Literary language is transformed into a polisensorial language proposing another type of literature ¿from the future?
27
Saglia, Diego. "Imag(in)ing Iberia:Landscape Annualsand Multimedia Narratives of the Spanish Journey in British Romanticism." Journal of Iberian and Latin American Studies 12, no. 2-3 (December 2006): 123–46. http://dx.doi.org/10.1080/14701840601084942.
Full text
28
Hasanuddin, Hasanuddin. "PENERAPAN METODE FONIK UNTUK GAME EDUKASI PENYANDANG DISLEKSIA MENGGUNAKAN VISUAL NOVEL." JURNAL FASILKOM 9, no. 2 (August 11, 2019): 358–68. http://dx.doi.org/10.37859/jf.v9i2.1393.
Full textAbstract:
Multimedia that can help dyslexic children. Visual Novel is an interactive based game that displays stories in the form of static images, and is equipped with conversation boxes to convey narratives and sayings of each character, and sometimes each character has a sound effect so that every character in Visual Novel seems to be alive and able to speak. The method used in making this game is multimedia development life circle, and for the game itself, the phonics method will be used. As for the background of this writing, there is no Indonesian visual novel that has become a learning medium for children with dyslexia. And also visual novel is recommended to be used as a learning media, because it can help children enjoy the learning contained in it.
29
Martin, Daniel. "Reanimating the Dark Knight: Superheroes, Animation and the Critical Reception of The Lego Batman Movie." Animation 15, no. 1 (March 2020): 93–107. http://dx.doi.org/10.1177/1746847719898785.
Full textAbstract:
This article explores the critical reception of The Lego Batman Movie (Chris McKay, 2017) in the context of Batman’s long history of multimedia storytelling, anchored to divergent parallel narratives across numerous platforms, and the ways the film appeals to nostalgia through metatextuality. The manner in which critics championed The Lego Batman Movie and derided the earlier live-action Batman v Superman: Dawn of Justice (Zack Snyder, 2016) gave rise to a complex discourse around the cultural value of animation and the larger blockbuster superhero cycle, and discussions of morality, merchandising and commercialism. This article therefore engages with questions of animation’s apparent suitability for particular kinds of child-centric narratives regarded by critics as a vital part of American popular culture.
30
Abbamonte, Lucia. "The ‘sustainable’ video-narratives of Greenpeace – an ecolinguistic investigation." Forum for Modern Language Studies 57, no. 2 (April 1, 2021): 145–85. http://dx.doi.org/10.1093/fmls/cqab005.
Full textAbstract:
Abstract The ‘sustainable’ narratives of Greenpeace, as they unfold in thousands of short videos retrievable from both YouTube and Greenpeace’s official websites, are ultimately meant to engage more volunteers and donors. Accordingly, their affinities with some advertising languages are easily discernible, such as the use of topics that appeal to the public, for example idyllic natural settings. The multimodal composition of these videos deploys appealing film sequences of landscapes, alternately marked and unmarked by human interventions, whose meanings are reinforced through the lexico-grammar of the verbal level, which is notionally salient and rich in intertextual allusions. The purposes of the present study are to analyse their discursive and multimedia features through the lens of ecolinguistics, a relatively recent approach that is positioned within the wide domain of discourse analysis, and to investigate the cultural-linguistic implications of Greenpeace’s proactive communication. A major focus of attention is on the advertised visions of better worlds and the new stories we should live by, where nature is not to be used for profit but treated as the ecosystem that our lives depend on.
31
Kolstrup, Søren. "The use of pictorial narratives in multimedia systems for foreign language learning: Jean de l'Ours." ReCALL 6, no. 1 (May 1994): 9–14. http://dx.doi.org/10.1017/s0958344000002962.
Full textAbstract:
The Jean de I'Ours project explores the use of pictures and authentic (non pedagogical) language in foreign language learning/teaching. This project is based on the assumption that pictures can be used in a cognitive way, that they are more than mere entertainment, and that pictures used for communication in language teaching/learning should be more than mere pictograms.
32
STROLE, NICHOLAS A. "Postdramatic and Multimedia Dépaysement: Myth and Migration on Stage and Screen in Christiane Jatahy’s Ithaque: Notre Odyssée 1." Australian Journal of French Studies: Volume 59, Issue 3 59, no. 3 (July 1, 2022): 293–306. http://dx.doi.org/10.3828/ajfs.2022.23.
Full textAbstract:
Christiane Jatahy’s 2018 multimedia theatrical production Ithaque: Notre Odyssée 1 captures contemporary narratives of migration through a retelling of Homer’s Odyssey. To create this multilayered production, Jatahy interviewed refugees and worked closely with French and Brazilian actors to represent a variety of voices involved in the international migration crisis. Jatahy also captures the complexity of displacement through cameras that the actors use to film live video on stage. Drawing on Hans-Thies Lehmann’s concept of postdramatic theatre and Pasi Väliaho’s analysis of biopolitical screens, this article argues that the interplay between these filmed images and Jatahy’s unique staging choices reveals the contradictory nature of migration and displacement. By examining the double meaning of the term dépaysement, this article explores the opposing yet surprisingly harmonious relationship between multimedia technologies and classical drama that allows Jatahy to represent the various connections and disconnections migrants across the globe experience every day.
33
Meyers, Natalie, Anna Michelle Martinez-Montavon, Mikala Narlock, and Kim Stathers. "Genealogy of Refusal." Canadian Journal of Academic Librarianship 7 (December 15, 2021): 1–18. http://dx.doi.org/10.33137/cjalrcbu.v7.36442.
Full textAbstract:
Why can’t librarians “Just Say No”? To answer this question, we look at workplace refusal through the fine arts, literature, and popular culture to construct a genealogy of workplace refusal. In it, we also begin to trace a lineage of crisis narrative critique alongside the library profession’s inheritance of vocational awe. We explore the librarian’s role and voice through the lens of both popular culture and academic publications. In our companion multimedia, hypertextual Scalar project also titled A Genealogy of Refusal: Walking Away from Crisis and Scarcity Narratives, we contextualize strategies of refusal in libraries through critical response to and annotations of film clips and illustrations. We examine gender differences in portrayals of workplace refusal. We laugh when in Parks and Recreation a stereotypical librarian ignores a stripper but warns noisy patrons: “Shh—This is a library!” We are horrified when aspiring librarians in Morgenstern’s Starless Sea, hands tied behind their backs, have their tongues torn from their mouths. Elinguation as a job prerequisite? No, thanks. The implications of saying “No” are many. We explicate ways librarians are made vulnerable by crisis narratives and constructed scarcity. We advocate for asset framing and developing fluencies in hearing and saying “No.” Looking forward, how long will it take librarians to reclaim “Yes” in a way that works for us?
34
HOCHADEL, OLIVER. "Spain's magic mountain: narrating prehistory at Atapuerca." British Journal for the History of Science 49, no. 3 (September 2016): 453–72. http://dx.doi.org/10.1017/s0007087416000686.
Full textAbstract:
AbstractThe Sierra de Atapuerca in northern Spain is ranked among the most important excavation sites in human origins research worldwide. The project boasts not only spectacular hominid fossils, among them the ‘oldest European’, but also a fully fledged ‘popularization industry’. This article interprets this multimedia industry as a generator of different narratives about the researchers as well as about the prehistoric hominids of Atapuerca. It focuses on the popular works of the three co-directors of the project. Juan Luis Arsuaga, José María Bermúdez de Castro and Eudald Carbonell make deliberate use of a variety of narrative devices, resonant cultural references and strategies of scientific self-commodification. All three, in different ways, use the history of science and of their own research project to mark their place in the field of human origins research, drawing on mythical elements to tell the story of the rise of a humble Spanish team overcoming all odds to achieve universal acclaim. Furthermore, the co-directors make skilful use of palaeofiction – that of Björn Kurtén and Jean Auel, as well as writing their own – in order to tell gripping stories about compassion and solidarity in human prehistory. This mixture of nationalist and universalist narratives invites the Spanish audience to identify not just with ‘their ancestors’ but also with the scientists, as objects and subjects of research become conflated through popularization.
35
Costa-Sánchez, Carmen, Ana-Isabel Rodríguez-Vázquez, and Xosé López-García. "Transmedia or repurposing journalism? News brands in the era of convergence. Compared study of Greek elections coverage by El País (ES), The Guardian (UK), La Repubblica (IT), and Público (PT)." Journalism 21, no. 9 (October 9, 2017): 1300–1319. http://dx.doi.org/10.1177/1464884917734053.
Full textAbstract:
Journalism is once again facing a context of technological and social changes. The current stage is characterized for being mobile, multi-screen, and visual. Citizens have adopted with ease the new mobile media for content consumption. Transmedia narratives emerge as structures that can help creators to adapt contents to all platforms and to open the door to new audiences. This article analyzes transmedia strategies in the news offered during the coverage of Greek elections (20-S) by four of the most important news media brands in Europe: El País (ES), The Guardian (UK), La Repubblica (IT), and Público (PT). Results show that mobile platforms have been incorporated into the news coverage following a repurposing strategy as regards web content. The increasing number of published stories, the prioritization of their updating, and the multimedia enrichment make the World Wide Web the main platform of the analyzed practices. The patterns for commenting and sharing do not match, but the most commented and disseminated include multimedia contents.
36
Pennazioa, Valentina, and Andrea Traversob. "The digital in the nursery and kindergarten: create immersive narratives through collaboration." Research on Education and Media 7, no. 2 (December 1, 2015): 36–41. http://dx.doi.org/10.1515/rem-2015-0014.
Full textAbstract:
Abstract This paper presents a research experience (case study) on the use of digital technologies for the development of the ability to invent stories for images in a collaborative way, in some nurseries (0-3 years) and in some kindergartens in La Spezia. We have involved in the experience: the sections of the older children of the nursery (3 years); the heterogeneous sections of kindergarten, with the aim of presenting different educational activities and technologies (PC, tablet, projector ...) - prepared by educators-teachers and researchers - in an immersive environment to enable children to enter into the image and interact with it. The collaborative activities have also predicted the use of i- Theatre, an interactive integrated system for the narrative creation of multimedia stories. During the activities, educators and researchers conducted free observations that aim to bring out possible elements of transferability of the experience and set the second stage of work (model of research-training).
37
Taverner, Charlie. "Consider the Oyster Seller: Street Hawkers and Gendered Stereotypes in Early Modern London." History Workshop Journal 88 (2019): 1–23. http://dx.doi.org/10.1093/hwj/dbz032.
Full textAbstract:
Abstract Oyster sellers were ubiquitous on London’s streets and as characters in high and low culture. This article contrasts the varied, sophisticated working life of mostly female hawkers with their sexualized representation in the multimedia genre of Cries. It connects these divergent stories to bigger narratives of socio-economic change in London, gender relations, and changing ways of imagining the emergent metropolis. While previous work focused on hawkers’ marginality and read the Cries uncritically, this article shows how humble food sellers kept the city fed, became symbolic of cultural change, and may have been affected by their representations.
38
Lucena, Tiago Franklin Rodrigues, Ana Paula Machado Velho, Vinicius Durval Dorne, and Diana Maria Gallicchio Domingues. "The Drama of Dengue Fever: Civic-Oriented Journalists, Community and Artists Fighting Dengue." Leonardo 51, no. 2 (April 2018): 199–200. http://dx.doi.org/10.1162/leon_a_01529.
Full textAbstract:
This paper describes a transdisciplinary approach that takes places in South of Brazil with the aim to contribute with an eco-bio-social problem: dengue fever. Inspired by enactive theories about relation between body x environment, the authors present here a nontraditional multifaceted bottom-up intervention, designed by civic-oriented journalists and artists to promote health and mobilize a small community in Maringá. The intention is to promote healthier behavior in a participatory perspective when citizens can produce and share their narratives. The content was used as creative material to produce multimedia news, sketch and prototype mobile apps with the support of community.
39
López Salas, Estefanía. "A collection of narrative practices on cultural heritage with innovative technologies and creative strategies." Open Research Europe 1 (October 25, 2021): 130. http://dx.doi.org/10.12688/openreseurope.14178.1.
Full textAbstract:
The H2020 project rurAllure, “Promotion of rural museums and heritage sites in the vicinity of European pilgrimage routes” (2021-2023) aims to enrich pilgrims’ experiences with the creation of meaningful cultural products focused on the lesser-known heritage sites of rural areas that are not found on pilgrimage routes, but in their surroundings. One of the project goals is to create contents and narratives to be offered to pilgrims over successive days with the integration of state-of-the-art technology. This way, hidden rural heritage will be discoverable and pilgrims will have the opportunity to actively engage with rural places nearby, their local communities, identity, and culture. The latter will no longer be passive witnesses, but active participants in transnational networks of shared history and living heritage. The rurAllure project aims to develop a new concept of mobile guide for pilgrims that will present rural heritage sites and activities of interest along with information of transportation and accommodation to help movement from and back to pilgrimage routes, as well as cohesive narratives to be consumed along the way, focused on four pilots: literary heritage on the ways to Santiago de Compostela, thermal heritage and others on the ways to Rome, ethnographic heritage on the ways to Trondheim, and natural heritage on the ways to Csíksomlyó. To facilitate the pilots’ brainstorming in the creation of multimedia contents, we developed a review of narrative models on cultural heritage storytelling. In this paper, we present the results, a collection of 22 case studies we analyzed with a common structure, from which six distinctive groups of narrative practices emerge: sound-walks, wearable guides, context-aware games, simulations, digital exhibitions, and cultural wayfinding. All cases studies disrupt traditional notions of storytelling consumption and foster new relationships between people and places of interest that may lead to advancements in the pilgrimage context.
40
Smith, Sophy. "Pervasive theatre." Convergence: The International Journal of Research into New Media Technologies 24, no. 3 (November 15, 2016): 321–36. http://dx.doi.org/10.1177/1354856516675253.
Full textAbstract:
This article explores the opportunities and implications for new digital writing in transmedia performance environments. This article centres on the experimental Pervasive Theatre project ( Assault Events 2014, commissioned by futuredream funded through Arts Council England), which explored the potential of online social tools to create a multimedia, collaborative and participatory work situated across multiple platforms. This project brought together researchers, artists, writers, technologists and practitioners from the interdisciplinary fields of digital writing, transmedia and performance to explore ways to develop narratives that weave together physical and online worlds, blurring the distinction between reality and fantasy, audience and performers in a way that would be exciting, immersive and participative. The project looked at different performative spaces including Facebook, Twitter, YouTube and Vines, exploring how these platforms could support the delivery of original narrative performance. This transmedia approach informed and shaped the digital writing practice, instigating new modes of working. Four aspects were of particular interest and will be explored in this article – how new writing can emerge from within online spaces rather than being translated onto them; how characteristics of different online social platforms inform style and content; how social media platforms can be used to develop narrative and character through creative collaboration with performers; and finally, how online social spaces enable the digital writer to develop a narrative framework through which audiences frame their own meaning.
41
Dawson, Beata, Pauline Joseph, and Erik Champion. "The Story of the Markham Car Collection: A Cross-Platform Panoramic Tour of Contested Heritage." Collections: A Journal for Museum and Archives Professionals 15, no. 1 (March 2019): 62–86. http://dx.doi.org/10.1177/1550190619832381.
Full textAbstract:
In this article, we share our experiences of using digital technologies and various media to present historical narratives of a museum object collection aiming to provide an engaging experience on multiple platforms. Based on P. Joseph’s article, Dawson presented multiple interpretations and historical views of the Markham car collection across various platforms using multimedia resources. Through her creative production, she explored how to use cylindrical panoramas and rich media to offer new ways of telling the controversial story of the contested heritage of a museum’s veteran and vintage car collection. The production’s usability was investigated involving five experts before it was published online and the general users’ experience was investigated. In this article, we present an important component of findings which indicates that virtual panorama tours featuring multimedia elements could be successful in attracting new audiences and that using this type of storytelling technique can be effective in the museum sector. The storyteller panorama tour presented here may stimulate GLAM (galleries, libraries, archives, and museums) professionals to think of new approaches, implement new strategies or services to engage their audiences more effectively. The research may ameliorate the education of future professionals as well.
42
Nadkarni, Samira, and Aishwarya Subramanian. "Board(er) Games: Space, Culture, and Empire in Jumanji and Its Intertexts." Jeunesse: Young People, Texts, Cultures 12, no. 2 (December 2020): 40–61. http://dx.doi.org/10.3138/jeunesse.12.2.40.
Full textAbstract:
Two recent transmedia narratives—Karuna Riazi’s 2017 middle-grade novel The Gauntlet and the 2017 film Jumanji: Welcome to the Jungle—have attempted to reclaim the 1995 film Jumanji’s colonial narrative (adapted from Chris Van Allsburg’s 1981 picture book). Both present forms of the “portal fantasy,” in which a protagonist supernaturally breaches the borders of another world. The Gauntlet transports its Muslim Bangladeshi American protagonist to a fantastical board game, whereas Jumanji: Welcome to the Jungle reconfigures the genre as multimedia immersive gameplay in a fictional “other” realm. Although these reworkings seemingly destabilize white supremacy by centring multiethnic American identities, their negotiations with the board game, itself a product of imperial history and a manifestation of the “gamification” of empire (wherein progress is measured by control of the board) complicate this. The creation of an American neo-colonial nationalism through a system of orientalizing these fantastic spaces (the jungle within the 2017 film and Riazi’s clockwork Islamic city) affirms the need for their control or eventual destruction by the protagonists. This effectively creates cultural borders that extend into these fictional spaces, playing out historical systems of empire in a bid to gain access to neo-empire.
43
Rios, Sofia. "From telenovelas to super series: Reflections on TV Azteca’s ‘improved’ content." Journal of Popular Television 10, no. 2 (June 1, 2022): 167–83. http://dx.doi.org/10.1386/jptv_00077_1.
Full textAbstract:
TV Azteca is one of the biggest multimedia conglomerations in Mexico. From its beginnings in 1993, TV Azteca knew it had to offer something different to audiences so they had a reason to tune in to its telenovelas. Things have changed significantly as TV Azteca announced in the middle of 2016 that it would no longer produce telenovelas. However, TV Azteca still has a vested interest in TV production via its super series. This research focuses on the political economy of production and development of telenovelas and super series, the effect of delineating quality television and the regendering of melodramatic narratives and heroines. It proposes that new content does not need to eradicate women’s stories and melodrama in the service of quality.
44
Micoli, Laura Loredana, Giandomenico Caruso, and Gabriele Guidi. "Design of Digital Interaction for Complex Museum Collections." Multimodal Technologies and Interaction 4, no. 2 (June 22, 2020): 31. http://dx.doi.org/10.3390/mti4020031.
Full textAbstract:
Interactive multimedia applications in museums generally aim at integrating into the exhibition complementary information delivered through engaging narratives. This article discusses a possible approach for effectively designing an interactive app for museum collections whose physical pieces are mutually related by multiple and articulated logical interconnections referring to elements of immaterial cultural heritage that would not be easy to bring to the public with traditional means. As proof of this concept, a specific case related to ancient Egyptian civilization has been developed. A collection of Egyptian artifacts such as mummies, coffins, and amulets, associated with symbols, divinities, and magic spells through the structured funerary ritual typical of that civilization, has been explained through a virtual application based on the concepts discussed in the methodological section.
45
Pardo Abril, Neyla Graciela. "Art and memory: Magdalenas por el Cauca." International Journal of Heritage, Memory and Conflict 2 (January 12, 2022): 39–49. http://dx.doi.org/10.3897/ijhmc.2.70846.
Full textAbstract:
Adopting an interdisciplinary framework of Memory Studies and Art and employing semiotics with a multimodal and multimedia character, it is explored how social groups in Colombia memorialise the violence of the internal armed conflict. The reflection associates the victims’ experiences with those expressions of commemoration and remembrance that are narratives embodied in visual and scenic art. It is explored how a semiotic landscape of memory is created through a performative artistic proposal. In this landscape, not only cultural frames can be determined, but also the semiotic-discursive resources that give meaning to the relationship between art and memory. The aim is to characterise the performance known as Magdalenas por el Cauca (2008) which was recorded audiovisually in several spaces on the internet. It means that, in addition to the ephemeral mise-en-scène, there are records of the performative and communicative work. In this article, we analyse the video X PEREGRINACION TRUJILLO y MAGDALENAS POR EL CAUCA (2010), one of the records that perpetuates Magdalenas por el Cauca. This reparation act is an audiovisual narrative with ethical and political character and produced collectively by relatives of victims, witnesses, artists and other interlocutors, which interpret and assign new meanings to the performance.
46
Mollaghan, Aimee. "An audio-visual Gallivant: Psychogeographical soundscapes in the films of Andrew Ktting." Soundtrack 3, no. 2 (December 1, 2010): 125–30. http://dx.doi.org/10.1386/st.3.2.125_1.
Full textAbstract:
Andrew Ktting is one of the most innovative film-makers working in Britain today, using his distinctive Punk multimedia aesthetic to circumvent not only the conventions of narrative cinema, but also the conventions of experimental film and fine art. One of Ktting's enduring concerns is the psychogeographical use of landscape and soundscape as a catalyst for arresting and inventive investigations into memory and identity. Composer R. Murray Schafer uses the word soundscape to identify sound that describes an environment, actual or abstract, but always a sound relevant to a place (Schafer 1994). The sounds of our environment have a powerful effect on our imaginations and memories and Ktting exploits this effect across his body of work. The use of the disembodied voice is another marked feature of Ktting's films, creating both implied narratives and the evocation of memory. Ktting's bodiless voices have a schizophonic quality to them. Kotting rips sounds and voices from their sources and imbues them with an independent existence that is at liberty to emanate from anywhere in the landscape. This article investigates Ktting's idiosyncratic creation of soundscapes as a filmic reproduction of the human psyche, exploring memory, identity and community through an interweaving of voice, music and environmental sound.
47
Mamo, Laura, Jessica Fields, Jen Gilbert, and David Pereira. "Orienting Toward Possibility: Girls and Bisexuality at School." Health Promotion Practice 22, no. 2_suppl (October 19, 2021): 23S—32S. http://dx.doi.org/10.1177/15248399211045019.
Full textAbstract:
While many more high school girls identify as bisexual than as lesbian, queer, or other marginalized sexual identities, girls who identify as bisexual remain peripheral to sexuality research and to many sexual health education programs. Nevertheless, research suggests that bisexuality is a distinct claim and experience for girls, marked by highly gendered discourses of sexuality and queerness. Based on the Beyond Bullying Project, a multimedia storytelling project that invited students, teachers, and community members in three U.S. high schools to enter a private booth and share stories of LGBTQ (lesbian, gay, bisexual, transgender and queer or questioning) sexuality and gender, this article explores the work the identity “bisexual” and the category “bisexuality” accomplish for girls when claimed for themselves or another or put into circulation at school. We consider the range of meanings and identifications mobilized by bisexuality and, drawing on insights of critical narrative intervention, explore how sexual health and sexuality educators might receive girls’ narratives of bisexuality as capacious and contradictory—as claims to identity, as uncertain gestures toward desire, and as assertions of possibility and resistance. We show that in the assertion of bisexuality, girls align themselves with the surprise of desire and position themselves to resist the disciplining expectations of heteronormative schooling. Critical narrative intervention, with its focus on using stories to challenge the status quo, allows educators and researchers to recognize in girls’ stories of bisexuality, the potential of new approaches to sexual health education and social belonging.
48
Stobiecka, Monika. "Musealized landscapes and petrified landscapes." Polish Journal of Landscape Studies 3, no. 6 (October 9, 2020): 97–106. http://dx.doi.org/10.14746/pls.2020.6.6.
Full textAbstract:
The text aims to reflect upon the notion of landscape in the context of exhibitions; more precisely, it aims to do so in relation to the musealization of archaeological heritage and presentation of archaeology. The last 30 years of museum transformations, referred to as “the age of museums,” and the digital shift in museology have had a significant impact on building archaeological narratives in museums and beyond. Immersive and telematic landscapes, currently being constructed in museums, allow for sensorial engagement, broadened perceptive possibilities, and more intense interest in archaeology with the use of complex and convincing visions of the past. Hence, the musealized landscape presented in this paper is to go beyond the traditional criticism of multimedia in museums; it is an attempt to appreciate the cognitive opportunities provided by modern archaeological exhibitions.
49
Cardon, Kristen. "Species Suicide Notes." Environmental Humanities 13, no. 1 (May 1, 2021): 224–44. http://dx.doi.org/10.1215/22011919-8867285.
Full textAbstract:
Abstract This article tracks the history of species suicide, a phrase that originally referred to a potential nuclear holocaust but is now increasingly cited in Anthropocene discourses to account for continued carbon emissions in the face of catastrophic climate change. With its Anglophone roots in the Cold War, species suicide discourse unites concerns about nuclear arsenals, so-called overpopulation, and environmental injustice across disciplines. Species suicide discourse is indebted to the US-based field of suicide prevention, which for more than half a century has analyzed suicide notes in search of effective prevention methods. Therefore, to theorize suicide prevention in relation to anthropogenic climate change, this article imagines a version of this genre that mediates between individual and collective subjects—called a species suicide note. As an example, the interdisciplinary and multimedia art project “Dear Climate” (2012–ongoing) by Una Chaudhuri, Oliver Kellhammer, and Marina Zurkow rewrites familiar narratives of crisis, shifting species suicide notes toward irony and unconventional techniques of hope. In analyzing these performative species suicide notes, the author complicates species suicide prevention by foregrounding narratives of irony. These notes accentuate a self-reflexive irony that works toward climate justice for vulnerable humans and more-than-human species.
50
Matthews, Nicole, and Naomi Sunderland. "Digital Life-Story Narratives as Data for Policy Makers and Practitioners: Thinking Through Methodologies for Large-Scale Multimedia Qualitative Datasets." Journal of Broadcasting & Electronic Media 57, no. 1 (January 2013): 97–114. http://dx.doi.org/10.1080/08838151.2012.761703.
Full text