A GENRE THEORY PERSPECTIVE ON DIGITAL ... - ETD

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Selection of sites ................................................................................................... 85 Exclusion of sites .................................................................................................. 92 Participants............................................................................................................ 93 Data Collection ................................................................................................................. 98 Digital story corpus............................................................................................... 99 Selection of focal stories..................................................................................... 103 Interviews............................................................................................................ 104 Text collection .................................................................................................... 107 Data Analysis.................................................................................................................. 109 Interview and artifact analysis ............................................................................ 109 Conceptual Mapping of Genre Features ............................................................. 109 Discourse-informed Multimodal Analysis.......................................................... 114 A Temporality Visual Model.............................................................................. 119 My Role as a Researcher................................................................................................. 135 Site analysis and online working group.............................................................. 135 Participating in a workshop ................................................................................ 137 Teaching digital storytelling ............................................................................... 138 Limitations and Trustworthiness..................................................................................... 139 IV. LISTEN DEEPLY BEFORE YOU TELL A STORY ......................................................... 142 The CDS’ Conception of Digital Storytelling ................................................................ 144 A transformative experience............................................................................... 145 A group process .................................................................................................. 148 Creative space of the first person........................................................................ 152 The Simple, Flexible Method ......................................................................................... 156 The workshop model........................................................................................... 161 Enable a transformative experience.................................................................... 164 A Case: Grand Canyon ................................................................................................... 172 A rich moment .................................................................................................... 172 A psychological fixation..................................................................................... 176 Change ................................................................................................................ 179 Coda: An optimistic outlook on the future ......................................................... 184 Genre Analysis................................................................................................................ 185 V. STORIES ABOUT WALES, BY WALES............................................................................ 193 Re-anchor the Genre for Public Broadcasting ................................................................ 194 Vignettes of mundane experiences ..................................................................... 197 Cultural democracy............................................................................................. 203 Empower individuals .......................................................................................... 207 Reconfigure the Workshop Model.................................................................................. 211 Safeguard participant privacy and welfare ......................................................... 213 Negotiate content rights ...................................................................................... 217 Materialize cultural democracy........................................................................... 222 A Case: A Night at Duck and Dog.................................................................................. 228 vii
Scene One: At Sarah’s House............................................................................. 230 Scene Two: Arriving at the Pub.......................................................................... 233 Scene Three: In the Pub ...................................................................................... 235 Scene Four: On the Steep Stairs.......................................................................... 238 Scene Five: At the Toilet .................................................................................... 240 Reflection............................................................................................................ 241 Genre Analysis................................................................................................................ 244 VI. STORIES FOR CHANGE.................................................................................................... 253 Integrating Digital Storytelling into Professional Work................................................. 254 Enabling Positive Social Change........................................................................ 255 Creating Social Capital ....................................................................................... 259 A Sponsorship Model ..................................................................................................... 263 A Safe and Supportive Environment .................................................................. 265 A Case: Getting to the Bottom of Things ....................................................................... 269 The dragon: An Introduction .............................................................................. 270 The dragon: The disease ..................................................................................... 272 The dragon: The bottom wiper ........................................................................... 274 Passing the dragon: A solution ........................................................................... 276 Passing the Dragon: A Counter Example ........................................................... 278 Plea and Tribute .................................................................................................. 280 Genre Analysis................................................................................................................ 282 VII. DISCUSSI<strong>ON</strong> ..................................................................................................................... 289 The Durable and Dynamic Digital Storytelling.............................................................. 290 Implications for the Field................................................................................................ 298 Future Directions for Research ....................................................................................... 305 A Genre-informed study ..................................................................................... 305 Future research questions.................................................................................... 307 Appendix A. Recruitement Letter................................................................................................................ 311 B. Consent Letter ........................................................................................................................ 312 C. Interview Protocol.................................................................................................................. 314 D. Corpus of Digital Stories........................................................................................................ 316 E. Typology of Digital Stories.................................................................................................... 319 viii
Page 1 and 2: A GENRE THEORY PERSPECTIVE ON DIGIT
Page 3 and 4: ACKOWLEDGEMENTS Completing this dis
Page 5 and 6: LIST OF FIGURES Figure Page 1. Iron
Page 7: TABLE OF CONTENTS Page ACKOWLEDGEME
Page 11 and 12: CHAPTER I INTRODUCTION Background o
Page 13 and 14: and media skills and knowledge to d
Page 15 and 16: telling stories in social settings.
Page 17 and 18: Brief Overview and Purpose of this
Page 19 and 20: esearch attention, while working to
Page 21 and 22: stories tend to be poignant, humoro
Page 23 and 24: The conceptual precursor of digital
Page 25 and 26: preserving memories, achieving pers
Page 27 and 28: These properties have given momentu
Page 29 and 30: The multimodal semioticians For the
Page 31 and 32: students are exposed to in formal l
Page 33 and 34: process of one’s making of a stor
Page 35 and 36: Also, the media affords easy creati
Page 37 and 38: epresenting themselves that are oth
Page 39 and 40: institutionally endorsed nature of
Page 41 and 42: conceptualized as a pedagogical too
Page 43 and 44: oth in form and content, personal v
Page 45 and 46: Nixon, 2003), and how literacies co
Page 47 and 48: esearcher is solely concerned with
Page 49 and 50: concert with the individual to move
Page 51 and 52: discourses, persons, tools, activit
Page 53 and 54: also operate from a conception of s
Page 55 and 56: ways of using tools, and typical wa
Page 57 and 58: (healing from disease and loss), di
Page 59 and 60:
The important idea for my enterpris
Page 61 and 62:
other instances of using language,
Page 63 and 64:
cognitive activities, which serve a
Page 65 and 66:
executives, who may resort to perso
Page 67 and 68:
members to interpret their past exp
Page 69 and 70:
collaborative work of partners. Fin
Page 71 and 72:
Genre as meaning potential In the p
Page 73 and 74:
is Bakhtin’s view that a particul
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accumulated experiential and ideolo
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with genres functioning to maintain
Page 79 and 80:
as one of many active agents of the
Page 81 and 82:
overlapping and mobile. Because gen
Page 83 and 84:
ut from creative integration of a v
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temporarily foregrounds and backgro
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We speak only in definite speech ge
Page 89 and 90:
To do a genre-formed analysis of di
Page 91 and 92:
the implications of this research f
Page 93 and 94:
data to illustrate the analytical m
Page 95 and 96:
ways in which the meaning potential
Page 97 and 98:
For the purpose of this study, I di
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connecting with its audience. Durin
Page 101 and 102:
storytelling as an act of civic eng
Page 103 and 104:
Youth 10 movement, the Finding A Vo
Page 105 and 106:
According to Joe, the inherent simp
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patients create stories that were u
Page 109 and 110:
pedagogical materials and publicati
Page 111 and 112:
Table 1. Digital Story Corpus Story
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Selection of focal stories A genre-
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facilitator interview protocol to g
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able to schedule a Skype session wi
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Data Analysis Analysis of the data
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Table 4. Prompt Questions for Genre
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window through which the author sho
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story. Namely, he breaks down a sto
Page 127 and 128:
couplings can only emerge when they
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a theme—a new understanding of hi
Page 131 and 132:
econtextualized and reappropriated
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An example: Temporal visual model o
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allows me to get at the basic theme
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amount of details developing the mo
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epresents a stanza that is analytic
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Table 6. A List of Multimodal and D
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That is, the sudden visual “rises
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In making these arguments about gen
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trends, themes, and values that can
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to the unique expressive, democrati
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Convergence. The genre-informed fra
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that are at times incongruous with
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vision, digital storytelling is val
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participants are expected to arrive
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combined, as dialectically connecte
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assurance of privacy, as manifested
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a particular experience. One of the
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On the other hand, the tenet of “
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ambitious.” Essentially, the work
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persons (and their social relations
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The workshop model In this section,
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process, scripting involves further
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elements. For example, “owning yo
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that they always show Tanya to illu
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structure created by the author. Wi
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identify. I present each juncture o
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The narrative begins with an unprov
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conjunction of two types of non-lin
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emotions found in the narrative. Wh
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defined by the CDS, involves explor
Page 191 and 192:
Vignette Two: The Trip Visual Effec
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Vignette Three: The Photos Visual E
Page 195 and 196:
In the final sequence of the story,
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and described. I will draw on these
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Closely related to these thematic f
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healing and growth have partially g
Page 203 and 204:
CHAPTER V STORIES ABOUT WALES, BY W
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at a staff meeting at the BBC. Acco
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Vignettes of mundane experiences In
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When I invited Cathy to speak about
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accomplish this, Capture Wales work
Page 213 and 214:
seeing beyond the stories and “kn
Page 215 and 216:
This principle of cultural democrac
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elationship with media content. In
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son]—‘What is heaven? Why do yo
Page 221 and 222:
As I have discussed in the previous
Page 223 and 224:
Safeguard participant privacy and w
Page 225 and 226:
From a genre perspective, Cathy’s
Page 227 and 228:
In other cases, the clashing of two
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Capture Wales stories do we hear st
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filled with tensions. In this case,
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according to individual availabilit
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lightness in seemingly mundane stor
Page 237 and 238:
discovery through the revelation of
Page 239 and 240:
This story is exemplary of the wide
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sounds, sights, and activities. The
Page 243 and 244:
Scene Two: Arriving at the Pub Visu
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Capture Wales workshops focused on
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allowing the storyteller to tempora
Page 249 and 250:
onlookers sitting at a table, heads
Page 251 and 252:
yellow vomit of chicken and rice, w
Page 253 and 254:
warming friendship. So do the words
Page 255 and 256:
Figure 20: A Night at Ducks and Dog
Page 257 and 258:
given theme. In a chronologically o
Page 259 and 260:
Lastly, Rhiannon’s story well ill
Page 261 and 262:
themselves and becoming friends; we
Page 263 and 264:
Chapter VI STORIES FOR CHANGE In th
Page 265 and 266:
Enabling Positive Social Change To
Page 267 and 268:
off guard with overwhelming emotion
Page 269 and 270:
coherent with the institutional con
Page 271 and 272:
fully realized. In this instance, P
Page 273 and 274:
In these instances of genre invocat
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egulated discursive activities. Eme
Page 277 and 278:
Aside from such physical attributes
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of their issues. Our counselors sai
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the story—an independent woman’
Page 283 and 284:
disease, actively dismantles the em
Page 285 and 286:
Speaking in light of these painful
Page 287 and 288:
for the help her husband has provid
Page 289 and 290:
effort to provide help on matters o
Page 291 and 292:
persistent support and companionshi
Page 293 and 294:
y medical staff and poor quality of
Page 295 and 296:
of the broader reflective and analy
Page 297 and 298:
meaning potential, we come to atten
Page 299 and 300:
CHAPTER VII DISCUSSION At the begin
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see, increasingly clearly, how diff
Page 303 and 304:
stories, encoding the ideology of t
Page 305 and 306:
consecutive morning classes on Frid
Page 307 and 308:
ing a wealth of skills, mindsets an
Page 309 and 310:
with my colleagues, while at other
Page 311 and 312:
composition task for local pedagogi
Page 313 and 314:
vise versa. Kay, for example, point
Page 315 and 316:
Future Directions for Research A Ge
Page 317 and 318:
situated creative intentions are co
Page 319 and 320:
In pursuing the second question, I
Page 321 and 322:
Appendix A. Recruitment Letter Dear
Page 323 and 324:
questions in an email. Here are exa
Page 325 and 326:
6. What knowledge and expertise (te
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n_01.shtml http://www.bbc.co.uk/wal
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Appendix E. Typology of Digital Sto
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Rituals (CDS) Tanya (CDS) The gift
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REFERENCES Atchley, D. (Producer).
Page 335 and 336:
Dalton, B., & Smith, B. E. (2012).
Page 337 and 338:
Kamberelis, G. (1995). Genre as ins
Page 339 and 340:
Nystrand, V. A. D. (1994). A genre
Page 341:
Vasudevan, L., DeJaynes, T., & Schm
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