Conceptualizing learning issues throughout the creative process of digital storytelling: case studies of three learners' video making

Digital Storytelling;Digital Art Education;Video Storytelling;Video Narrative;Narrative Video Production;Case Study;Autoethnography;video making conceptual framework;Postmodern art making strategy

Lee, Ji Yeon

关键词: Digital Storytelling;    Digital Art Education;    Video Storytelling;    Video Narrative;    Narrative Video Production;    Case Study;    Autoethnography;    video making conceptual framework;    Postmodern art making strategy;   

Others  :  https://www.ideals.illinois.edu/bitstream/handle/2142/31931/Lee_JiYeon.pdf?sequence=1&isAllowed=y

美国|英语

来源: The Illinois Digital Environment for Access to Learning and Scholarship

【 摘 要 】

I believe that digital storytelling through narrative video production is a beneficialpractice that translates an individual’s synthesis of human experiences, memories, andaspirations into visual metaphors by means of multi-media tools, combining music, videoand still images with an individual’s creative voice. I also maintain that narrative videoproduction has tremendous potential to engage the viewing audience, thus helping boththe creators and spectators of the videos to discover the power of creative visualcommunication. This research involved my own journey towards creating narrative videoproduction and provides a unique insider look at the process as well as cross-discussionwith the creative processes of two more individual learners.This research provides an introduction to the basic practices of digital videoproduction, with an emphasis on the building of narrative, planning of action, andsequencing of imagery, texts, and sound. I considered these practices in relation to eachindividual’s learning experiences and processes regarding digital video creation. In theliterature review, I provide brief overviews of selected discourse from various disciplinesabout the nature of narrative, telling a story in a digital age, aspects of digital videoproduction, and notions about postmodern art pedagogy as they might apply to narrativedigital video pedagogy. I also review varying definitional claims regarding narrative anddigital video production as posited by media scholars, art educators, and film critics.The primary research question of this study focused on identifying the learningissues surrounding the artistic, conceptual, and technical aspects of digital storytelling viathe experience of three learners engaged in video making practice. These three casereports shows how the process of making a digital video impacts each of the individuals’iiinotions of digital storytelling, and how the students in my study uniquely perceived theirlearning experiences in a classroom setting. Each case has its own set of learningexperiences, varied constructions of meaning, particular technology adoptions, andartistic expressions, even while situated in the same course setting. I described howindividuals’ knowledge and understanding of digital storytelling grew throughout thesemester. I used synthesis and reflection to determine how digital storytelling experiencescan be embedded in individual digital stories.The cross-case discussion integrates the study findings within the framework ofmy research questions. Based on the cross-case discussion, I generated five importantlearning issues regarding digital making process, as described above: a)acknowledgement regarding the purpose and meanings of digital video making, b)technical learning issues regarding technology, c) creative process of video making, d)completion and demonstrating craftsmanship, and e) creative tension between storytellerand audience. Together, the three case reports and the cross-case discussions lead tovaluable research findings and potential implications in art education.This study presents empirical evidence identifying the learning issues andstrategies of actual learners of digital storytelling, highlighting the complexity of digitalvideo making and reinforcing the significance of learner autonomy. Digital video makingcan serve as an alternative learning practice to facilitate improvisational, self-regulated,creative, and work-based learning. This understanding of the purpose of amateur digitalvideo production is significant because it allowed the individual learners in this study toenjoy freedom and imaginative space while working with their digital videos, exploringand experimenting in the vast world of digital technology, narrative, and artisticivapproaches, instead of trying to adhere to a fixed storyboard, afraid to make mistakes.Unlike professional films, which are constrained by commercial purposes, digital storiescan encompass a broad set of subjects, topics, objectives, content, attitudes, and workingstrategies. The findings of this study have important implications not only for the areas ofmedia education and art education, but more broadly for learning theories in general.