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Storytelling

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Raconter des histoires « Storytelling » dans ou hors la salle de classe. Les outils numériques avec la technologie donnent aux élèves la possibilité de raconter des histoires à travers la voix, textes, images, audio et vidéo.

Raconter des histoires « Storytelling » dans ou hors la salle de classe

Les histoires numériques permettent aux élèves de prendre une série linéaire d’événements et de les transformer en une expérience multidimensionnelle. Encourager à communiquer, collaborer, rechercher ainsi que d’ajouter des médias dans le processus de création. De nombreux outils existent pour créer ces projets – à la fois des logiciels et matériel – et chacun d’entre eux permettent aux élèves d’acquérir une compréhension plus profonde de l’histoire à mesure qu’ils explorent la manière la plus efficace de raconter cela.

(Diaporama et Logiciels de montage vidéos) Photorécit 3 Un téléchargement gratuit pour les ordinateurs, ce programme fournit un moyen facile d’éditer des vidéos. Le site Web : Storybird Le site Web : VoiceThread Le site Web : Gloster. The Storytelling Mandala: Purpose-Inspired Transmedia Storytelling. Marketers have always used stories to share information, change opinions and influence decisions. Now, as people create, consume and share brand stories in new ways, marketers need to go beyond the 30-sec product ad or the 300-word press release, and tell purpose-inspired transmedia stories that inspire, organize and energize people.

Six Trends in Storytelling Let’s start by recapturing the six important trends that are reshaping how people create, consume and share brand stories: These six trends play an important role in the narrative arc we will draw next: from Hero’s Journey to Heroes to Everyday Heroes. From Hero’s Journey to Heroes to Everyday Heroes. Digital Literacy, Creativity & Transmedia Publishing For Kids. 25 Ways To Plot, Plan and Prep Your Story. I’m a panster at heart, plotter by necessity — and I always advocate learning how to plot and plan because inevitably someone on the business side of things is going to poke you with a pointy stick and say, “I want this.”

25 Ways To Plot, Plan and Prep Your Story

Thus you will demonstrate your talent. Even so, in choosing to plot on your own, you aren’t limited to a single path. And so it is that we take a look at the myriad plotting techniques (“plotniques?”) You might use as Storyteller Extraordinaire to get the motherfucking job done. Let us begin. The Basic Vanilla Tried-And-True Outline The basic and essential outline.

The Reverse Outline Start at the end, instead. Tentpole Moments A story in your head may require certain keystone events to be part of the plot. H. Jenkins : La narration transmedia. 4186330101_4ef1e18b88_o.jpg (1024×768) Mapping a Storyworld Timeline. World first, then Plot.

Mapping a Storyworld Timeline

This is the mantra I think is so important for developing an episodic series. The principle being that a series lives and dies by it’s dramatic sustainability and if you focus on plot before fully considering the rules, contexts and natural pressures of your story-world, you run the risk of writing your series into an unsustainable hole. A good series should become self perpetuating by the natural dramatic momentum generated by it’s story world. Get the Story World right and Plots should just flow… So, then the question becomes How to build an effective story world, how to conceive and articulate that world and it’s natural dramatics?

In a previous post I broke down the important distinction between Settings, Contexts and Background: Setting is the here and now of the story world, it’s present. Seminal film scholar David Bordwell defines narrative cinema (as we know it) as a series of events in a cause and effect chain within time and space. Story, interrupted: why we need new approaches to digital narrative. By Pedro Monteiro | September 8, 2011 The way we tell stories in print has been mostly the same for some time now.

Story, interrupted: why we need new approaches to digital narrative

Space constraints and graphic layout have made the narrative flow a broken one. With the advent of digital devices and rich new ways of shaping content, the pressure is on to rethink how we produce and present our stories. Looking into why the broken-narrative experience happens may help us figure out how to prevent it in digital publishing. For the purposes of this article, I’ll refer to linear narrative as a story with a beginning, middle and end. Likewise, when describing nonlinear narratives, I’m not referring to their timelines but to interruptions of the story experience, as if you went to the movies to watch “Memento” and were interrupted in the middle by a documentary about the film itself.

Interrupting stories Take a minute to think about a great lecture you’ve attended sometime in the past. Let’s look a little deeper. Now imagine yourself in a lecture hall. Quand les communautés de fans embrassent le principe du storytelling 1/3. Nous vous proposons un panorama de certaines pratiques des fans en considérant celles-ci comme de potentielles pratiques transmédia, notamment en terme de storytelling.

Quand les communautés de fans embrassent le principe du storytelling 1/3

Ici, l’idée n’est pas d’être exhaustif sur ces nouvelles manières de faire des communautés de fans qui s’approprient, réécrivent, braconnent (De Certeau, 1980 ; Jenkins, 1992) les productions issues des médiacultures (Maigret, Macé 2005) ; mais il s’agit plutôt de proposer un voyage – ni linéaire, ni absolu – au sein des « univers étendus » (Peyron, 2008) où les fans créent, naviguent et prolongent l’expérience de réception d’une œuvre. span style= »color: #ff5500; »>La productivité des fans. E-réputation.