The World of Digital Storytelling, Jason Ohler

Intro: Digital Storytelling

In digital storytelling I envisage students as having something important to say or to tell other people or who would like to make up a story about something important to them or just for fun.

In the process of creating their story they will be using literacy related skills, creative, artistic and musical skills along with appropriate technologies to develop and present their stories. The digital aspect refers to capturing or presenting the story using digital technologies. However a key point to keep in mind is that the technology should not get in the way of a good story.

These stories could be personal stories, stories about families, information based stories or fictional or artistic stories. The intent is that the student or group of students would think about what they wanted their story to be, plan their story, create the story using the appropriate technical means and then present their story.

Examples Used in the 2007 Learning Connections Summer Institute

Joyce Public School Toronto The Old Lady and the Cheetah: my computer

BBC Wales Lucky Stone http://www.bbc.co.uk/wales/digitalstorytelling/sites/schoolshoebox/pages/yusef.shtml

Grade 3 Poetry Slam SAS School http://www.youtube.com/profile?user=saschool

PBS Poetry Slam video http://www.youtube.com/watch?v=vMwAUPThmc0&mode=related&search=

Teacher Reflection Video Scott Count http://www.dtc.scott.k12.ky.us/technology/digitalstorytelling/ee2nd_t1.mov

Student Videos Scott County http://www.dtc.scott.k12.ky.us/technology/digitalstorytelling/studentstories.html

Momnotmom http://www.storycenter.org/whatis.html

Reference/Handout Package available in the Learning Connections Portal Library

1. Digital Storytelling Jason Ohler Educational Leadership 2005 2. Eight tips for telling your story digitally.pdf 3. David Jakes storytelling.pdf 4. Digital Storytelling A Practical Classroom Management Strategy.pdf 5. EdTEchLibraryOfCongress.pdf 6. Mod32_Script_Writing_Rub.pdf 7. Mod32_Vid_Prod_Rubric.pdf 8. Progress Chart class_mgmt.pdf 9. Scott County storyboard.pd 10. Storyboard traditional.pdf 11. storydevelop-rubric-Ohler.pdf 12. VP Ohler Mapping Models.pdf 13. Winipeg Supplementary Resources.pdf 14. Winnipeg Basic Rsources.pdf 15. Digital Cookbook.pdf – not included – download from the Digital Storytelling Centre above Digital Storytelling Links Revised Aug. 18, 2007-

Although many of these are links to stories which are family or historical in nature and video, this is not the only way to proceed. Stories can be fictional, art based and done with many tools such a digital cameras, PowerPoints, Hyperstudio, various slide show program etc. This list of references is by no means exhaustive and if you find other good resources please email me about them and I will add to and reissue the list.

Digital Storytelling will be a major part of the 2007 Summer Institute.

Center for Digital Story Telling: a non profit arts based group that runs workshops and puts out a manual on storytelling. http://www.storycenter.org/ I love their opening page containing only the graphic to the right. For me it states what digital storytelling is all about. Great resources including a digital storytelling guide.The Digital Storytelling Manual is available for download from their site. It is worth downloading.

Jason Ohler Web Site http://www.jasonohler.com/ Probably the best reference for educators on digital storytelling. It contains links to resources including a PowerPoint by him on digital storytelling. His new book is coming out in September 07 and I recommend it highly.

Article on Digital Storytelling grades 4 and 5: by a grade 4,5 teacher http://www.infotoday.com/MMSchools/jan02/banaszewski.htm

Hilary McLellan’s Story Link: A great many links related to digital storytelling including some to tools. It contains a ink to some wonderful stories from Wales captured by the BBC. http://www.tech-head.com/dstory.htm

Co-authoring Identity: Digital Storytelling in an urban middle school http://thenjournal.org:16080/feature/61/ An interesting article but in the middle school or high school area.

Educational Leadership December 2005/January 2006 vol 63 No 4: The World of Digital Storytelling, Jason Ohler

This is available on line to ASCD members and for $3.00 to nom members. This is also available with permission in our Library. http://www.ascd.org/portal/site/ascd It is also available on the author’s personal site as below. http://www.jasonohler.com/pdfs/digitalStorytellingArticle1-2006.pdf

Educational Uses of Digital Storytelling http://www.coe.uh.edu/digital-storytelling/default.htm This is a good article with a good section on educational goals for storytelling and with a great many digital story telling resources listed. It has a tutorial on Photostory 3. It is aimed more at higher grades but much is applicable at all grades. They do not mention resources available to teachers in Ontario through OSAPC such as KidPix, Corel Presentation and Hyperstudio.

Digital Storytelling Winnipeg School Division http://www.wsd1.org/digitalstorytelling/ An excellent site, but some of the links are not valid.

Scott County Kentucky http://www.dtc.scott.k12.ky.us/technology/digitalstorytelling/ds.html This site contains resource materials and links to many student stories. This link is incorrect in the Winnipeg site, but they refer to it as one of the best sites for stories.

BBC Wales http://www.bbc.co.uk/wales/digitalstorytelling/sites/schoolshoebox/index.shtml A great many interesting stories.

The Elements of Digital Storytelling - a University of Minnesota project http://www.inms.umn.edu/elements/ A slick site good for senior levels.

Digital Storytelling – Arizona Learning Interchange http://www.teachingteachers.com/story.htm A good general summary site.

Atomic Learning http://www.atomiclearning.com/storyboardpro A resource site that offers a free storyboarding program.

Tech Head Stories http://tech-head.com/dstory.htm This site has a huge list of sites on storytelling.

Integrating Digital Storytelling in your Classroom http://its.ksbe.edu/dst/ Good resources, more technical than some.

New York Public Library Digital Gallery http://digitalgallery.nypl.org/nypldigital/index.cfm A huge resource for digital images.

Technos – an interview with the people involved in the Nome Alaska story used in the institute. http://www.ait.net/technos/e-zine/interviews/green_screen_storytelling.php

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December 2005/January 2006 | Volume 63 | Number 4 Learning in the Digital Age Pages 44-47 The World of Digital Storytelling

Jason Ohler

Through creating electronic personal narratives, students become active creators, rather than passive consumers, of multimedia.

December 2005/January 2006 Imagine you are watching the digital story that Kim, a 6th grader, has created for a language arts assignment. As the story opens, the computer screen slowly fills with photographs of Kim's parents, one from when they were young and another taken more recently. Instrumental music plays in the background as family pictures appear on the screen. We hear Kim's voice telling the story of how her parents came to the United States from rural China. They worked long hours, saved their money, and eventually created a good life for their family. Kim's narration explains that although she loved her parents, her relationship with them was often strained because they considered her unresourceful and unappreciative of her good fortune. Kim was tired of hearing about how hard life was for her parents as children.

Suddenly, Kim's story shifts to the fire that nearly destroyed her family's house. Somber music plays and photographs from the fire scroll by as Kim narrates details about the tragedy. Interspersed among the photos are Kim's original pencil drawings of her family standing by a smoldering house.

However, this mood does not last long. The music becomes upbeat as Kim describes how her parents' tradition of hard work helped rally the family and restore the house. The screen shows before-and-after pictures of a room Kim helped rebuild. Her narration reflects on how the experience changed family members' perceptions of one another. Kim developed new admiration for her parents, and her parents were surprised and proud at how much she helped the family.

Kim's digital story is evocative and crafted with care. It's personal, yet it touches a universal chord. Her story incorporates authentic voice, problem-resolution, narrative tension, a transforming realization, and other elements most of us expect from a serious story or movie. It is both a story and a documentary, incorporating real events from Kim's life and her reflection on those events. Kim plans to post her digital story on the Internet so that all of her relatives, including those in Asia, can watch it.

Kim created practically every element of this digital story. She took most of the photographs and scanned in older ones, created artwork, mapped and storyboarded the story, wrote the script, narrated the story, and created titles and credits. She even produced the soundtrack, using music composition software geared toward nonmusicians.

Ten years ago, a project like this would have been too complex and expensive to be within the reach of most 6th graders. But media-based stories are now everyone's to create. And with the Internet as an international stage, they are everyone's to watch and enjoy.

Alan Davis defines a digital story as

a form of short narrative, usually a personal narrative told in the first person, presented as a short movie for display on a television or computer monitor or projected onto a screen. (2004, p. 1)

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As with any art form, digital storytelling continues to evolve to accommodate new technologies, purposes, and creative visions. The important question for educators to ask is, “What does digital storytelling offer education?” The answer is “a great deal,” if we do two things: focus on the story first and the digital medium later; and use digital storytelling to enhance students' skills in critical thinking, expository writing, and media literacy.

Story First Like many other teachers of digital storytelling, I welcome the advent of multimedia technologies. Such technologies give voice to a number of otherwise quiet students and to students whose skills don't fit the usual academic mold. Yet many students lack an intuitive grasp of how to use digital technology to enhance their stories. As the technology becomes more powerful, their stories become weaker, illustrating the truth of the saying “What happens when you give a bad guitar player a bigger amplifier?”

The problem for many students is their focus on the power of the technology rather than the power of their stories. Some students are engaging the medium at the expense of the message, producing a technical event rather than a story. Part of my task as a digital storytelling teacher is to teach students how to be storytellers. Two important components of my approach to teaching storytelling are story mapping and practicing written and oral storytelling before bringing in digital elements.

Story Mapping Most approaches to creating a story that will eventually have elements of a film go directly from idea to storyboard development. A storyboard, used commonly in the movie and TV industry, is an ordered presentation of drawings or photos that each summarize a major story event. Looking over the pictures should provide an overall sense of what will happen in the story.

I recommend that teachers use storyboards as a way to help students plan the events of a story. But storyboards do not capture a story's central conflict, structure, and elements of transformation, which we must help students identify if they are to write stories with depth. For that, I have students complete a story map before the storyboard. A story map is a one-page diagram showing how the essential components of a story are incorporated into the overall flow of the narrative. In addition to helping students think about stories in terms of theme and character development rather than simply as a series of events, story maps enable teachers to quickly assess the strength of a story while it is still in the planning stage and to challenge students to strengthen weak story elements.

Although the nature and structure of stories vary for personal, artistic, and cultural reasons, I initially discuss stories as most of my students experience them through popular media. Such stories are typically made up of the following essential components:

z A call to adventure. Normal life is interrupted by a significant event, initiating a physical, emotional, intellectual, or spiritual journey for the main character.

z Problem-solution involving transformation. Characters encounter problems that are solved through a personal transformation of some kind. Transformation can happen in a number of ways, including skill acquisition, maturation, learning, and self-discovery.

z Closure. The story comes to a meaningful conclusion, not necessarily through a happy ending. Often, closure involves the main character's realization of something significant, a moral, or evidence that something or someone has changed.

A compelling digital story must incorporate all these components, as Kim's story does. Her struggle to understand the tragedy of the fire and her relationship with her parents gives her story authentic voice and makes it engaging for the audience. Had she left her own voice out and simply reported about the fire and her family's experience in the United States, she would have created an informative but flat report.

There are many story mapping techniques. I tend to use the Visual Portrait of a Story diagram, which I adapted from the work of storytelling expert Brett Dillingham (2005). This diagram

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graphically outlines how a story moves through different elements from beginning to end and helps students visualize the progression of their stories—from the call to adventure, through development of the central problem and accompanying tension, to a solution involving character transformation, and finally to closure. As they plan their characters and action, students fill in how each element on the story map will be reflected in their story. The teacher can look over the story map and help a student strengthen weak story elements before the student starts writing.

The Visual Portrait of a Story is an excellent way to begin using story maps, and it continues to be one of my favorite story planning tools. But I have found that there is no single right way to map a story; each student may come up with his or her own way of graphically mapping the narrative for each storytelling project. A story map is not a box that a story needs to fit into, but a flexible guide aimed to help storytellers understand their stories and tell them in compelling, memorable ways.

Written and Oral Storytelling I involve students in as much writing and oral storytelling as time allows before they begin incorporating their story into a computerized presentation with images and sound.

Writing is key. Even though students' final products are media-based, the most important tool used in the creation of a digital story is writing scripts and story treatments. The saying “If it ain't on the page, then it ain't on the stage,” is as true for digital storytelling as it is for productions on Broadway. The written component of a digital story can take various forms, depending on whether the strongest curricular focus is on digital, oral, or writing skills. The final written form could be well-crafted bullets, a complete narrative, or a finely edited script, depending on which kind of writing the teacher wants to teach and assess.

Telling stories in traditional, oral fashion is also an important part of the preproduction process, and I make sure students have chances to do so before they work on the digital presentation. Oral storytelling is a powerful way for students to develop their own voices and discover what events and details are essential to their stories. Oral presentation is also an important way to prepare for the future: As video becomes cheaper and easier to use, it will become more commonplace for students to appear on film as they narrate a digital presentation.

Once you begin helping students craft their stories into multimedia presentations, they will need guidance in such skills as photography, scanning, and working with photos digitally. Teachers who are less experienced with multimedia technology—whom writer Marc Prensky (2001) calls “digital immigrants”—need not be intimidated. Most software provides tutorials, and a little coaching from a media-savvy colleague or older student should provide enough starting knowledge.

You'll need to get a few relatively inexpensive yet powerful tools and familiarize yourself with them. The hub of a digital storytelling station is a computer running software that can blend photos, titles, voices, music, and possibly video and animation. For a Macintosh computer, I recommend iMovie software; for a PC, I recommend MovieMaker. Both are free or inexpensive and easy to learn. One note of warning: Digital stories tend to take up a lot of file space and computer memory, particularly if you incorporate video. Simple stories that use still photos, titling, and voice-over narration can be just as effective as video without overtaxing your computer.

You'll also need some peripheral tools, especially a digital camera, microphones, a flatbed scanner, and a video camera if you plan to add video. The scanner is crucial. Using a scanner creatively opens up a world of content because you can photograph and import into a digital story any object you can place on a scanning bed: medals, locks of hair, a doll—you name it.

Creating a Tie-In to Academic Skills If digital stories are going to survive in education, they need to be tied to the curriculum and used to strengthen students' critical thinking, report writing, and media literacy skills. In creating and presenting digital stories, I advise educators to think in terms of a continuum anchored by “story” on one end and “analytical report” on the other, and to aim for the middle. Kim's project,

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for example, is part personal story and part expository report about her family heritage and her house fire. I have seen digital stories used to combine storytelling, critical thinking, and report writing in all content areas. The following examples show how the problem-solution story component can morph into its academic counterpart: inquiry-discovery.

Making a ball roll. To demonstrate their understanding of the geometry of circles, students at Molalla Elementary School in Oregon created an animated story showing how to make a ball roll on the beach. As the story unfolds, the narration tells us that the students encountered a problem. The ball skids along the sand instead of rolling. The students clearly explain their error and describe how they developed a more mathematically sound approach to their project, applying their understanding of the nature of spheres to make the ball appear to move more naturally. In the end, the ball rolls.

Superbugs. To demonstrate their understanding of superbugs (drug-resistant bacteria), two preservice teachers at the University of Alaska created a digital story called Bob's Battle, using primarily stills with voice-over narration. Bob tries to discover why he can't manage to shake an illness despite treatment from his doctor. It turns out that Bob did not complete his full course of antibiotics and has created a colony of superbugs resistant to his medication. The story is packed with scientific illustrations, diagrams, and data that support the narration. In the end, Bob admonishes the viewer, “Don't mess around with antibiotics.”

Although these are clearly academic reports involving the presentation of factual information, their use of story elements keeps them from being only reports. The story characters faced problems and were transformed by learning. If the students had not encountered a problem making the ball roll, or if superbugs had been explained without the benefit of Bob's journey to understand his illness, these presentations would have been less engaging to both storyteller and audience.

Media Literacy Creating digital stories is a perfect opportunity to engage students in media literacy, in learning about how the media influence our perceptions of the world (Goodman, 2003; Tyner, 1998). Stories are enjoyable because we give ourselves over to them; this is also what makes them dangerous (Kay, 1996). By their very nature, stories require us to suspend our disbelief and be swept away by their narrative. Yet students need critical media skills in a world overwhelmed by story-based media, much of which views their age group in terms of commercial market share. We want students not only to learn with media, but also to learn and think critically about media. We want students to understand that the difference between a successful digital story and an effective advertisement is largely one of purpose.

Digital stories provide powerful media literacy learning opportunities because students are involved in the creation and analysis of the media in which they are immersed. When students do the hard work of marrying story and technology to express themselves to others, they can see more clearly the persuasive nature of the electronic culture in which they live. Such a metaperspective of media does not develop naturally, however. It is hard for students immersed in a project to “zoom out” and see the larger picture of media impact. Teachers who want to include a media literacy component in a digital storytelling project need to do so deliberately at the project's outset. (Contact the Center for Media Literacy at www.medialit.org for ideas and resources on teaching media literacy.)

Tapping Dormant Skills As digital storytelling enters the academic mainstream, the technique shows great promise. Creating a digital story taps skills and talents—in art, media production, storytelling, project development, and so on—that might otherwise lie dormant within many students but that will serve them well in school, at work, and in expressing themselves personally. In addition, digital stories develop a number of digital, oral, and written literacies in an integrated fashion. This technique takes advantage of the fact that students are comfortable with narratives (Egan, 1986) and attracted to digital enhancements that sharpen their critical thinking, research, and writing skills. Through creating narratives, students develop the power of their own voices and become

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heroes of their own learning stories. Most important, digital storytelling helps students become active participants rather than passive consumers in a society saturated with media.

References Davis, A. (2004). Co-authoring identity: Digital storytelling in an urban middle school. THEN: Technology, Humanities, Education, & Narrative, 1(1), 1. Available: http://thenjournal.org/feature/61

Dillingham, B. (2005). Performance literacy. The Reading Teacher, 59(1), 72–75.

Egan, K. (1986). Teaching as storytelling. Chicago: University of Chicago Press.

Goodman, S. (2003). Teaching youth media: A critical guide to literacy, video production & social change. New York: Teachers College Press.

Kay, A. (1996). Revealing the elephant: The use and misuse of computers in education. Sequence, 31(4), 1–2.

Prensky, M. (2001). Digital natives, digital immigrants. On the Horizon, 9(5), 1–2.

Tyner, K. (1998). Literacy in a digital world: Teaching and learning in the age of information. Mahwah, NJ: Erlbaum.

Author's note: For more about digital storytelling, visit www.jasonohler.com/storytelling.

Jason Ohler is President's Professor of Educational Technology and Distance Learning at the University of Alaska, 1108 F St., Juneau, AK 99801; 907-465-6427; [email protected]. He is author of the upcoming book Digital Stories in the Classroom: A Telling Experience (Corwin Press, 2006).

http://www.ascd.org/portal/site/ascd/template.MAXIMIZE/menuitem.459dee008f996... 29/05/2007 Middle (conflict,growth) - challenge - opportunity - goal Problem Solution (tension) (resolution)

“thecallto adventure…” closure

Ordinarylife… “Life” resumes…

Middle (conflict,growth) - challenge - opportunity - goal Problem Solution (tension) (resolution)

(Dillingham,2001) “thecallto adventure…” closure

Ordinarylife… “Life” resumes… MyStoryPortrait: Title:

Beginning … ” End …

Middle (conflict,growth) - challenge - opportunity - goal Problem Solution (tension) (resolution)

“thecallto adventure…” closure

Ordinarylife… “Life” resumes… Beginning … Middle ” End … Opportunitiesor challengesforyour students?Starthere… Middle - challenge (conflict,growth) - opportunity - goal ‘Problem/resolution Problem scenarioyouwantto Solution (tension) fleshout?Starthere… (resolution)

Irarelystarthere… Buildstoryaroundakey transformationyouwant toillustrate… closure Transformation? Ordinarylife… “Life” resumes…

Doyouhavea “moral” youwant studentstounderstand?Start End hereandworkbackwards… - GOINGDIGITAL,BASICPROCESS - Pre- Post- Performance production Production production Distribution

• ideas, • make • editmedia • showingin storystorm voiceover, class, music • assembleall community • VPS mediainto • take pics, oneproduct • webposting • peerpitch video • mix,add • localTV? • storyboard, • scan pics, transitions, scripting objects titles • JUMP • make • formative • finaleditof • DVD? medialist reviewby product peers, • notifying • gather teachers • credits, others materials citations DRAFT Story Development Assessment Rubric developed by Jason Ohler and Brett Dillingham, 11/20/2001 (Used primarily for oral storytelling, but can be used for other media as well – updated 11/2004)

Trait In progress Meets Expectations Exceeds Expectations Beginning . not motivational . motivational . motivational . easy to "put down" and walk . reader/listener feels engaged, pulled into the story, . reader/listener very engaged, needs to know away from often through identification with protagonist or what is going to happen next; can't "put it . no “call to adventure,” that is, no situation. down" or walk away establishing of ordinary life and . there is a “call to adventure,” or departure from . “the call” is clear and compelling then moving away from “the ordinary life, and the beginning of a journey or . reader/viewer has internalized the tension ordinary” situation that is special or different and need for resolution

Problem/ . there isn’t a problem, challenge, . problem, challenge, opportunity or question and/or . personal AND universal; listeners can relate Opportunity/ opportunity question, or sense of tension is clear and believable to it Challenge/ tension . personally relevant, substantial . the need for protagonist's transformation in Question . reader/listener can't relate to or . presents clear obstacles to overcome order to solve problem is clear; there is a doesn't care about the problem, & address path for the protagonist to take opportunity Note about "problem:" it's not necessarily "conflict"; the concept of "problem" is more universal as well as personal… Solution . not related to problem, or is a . directly related to the problem, not forced . directly related to problem forced relationship with the . plausible and not contrived, interesting solution to . “natural,” not contrived, surprising yet problem problem that invites reflection inevitable . not plausible, or, if in a “magical . transformation of character clear . transformation is clear, powerful, compels setting” in which plausibility is . resolution addresses tension satisfactorily revelation, reflection not required, then it feels . “transformation is transformational!” for contrived, clique Note the following about solutions: both story characters and reader/listener . solution not necessarily resolution because some through identification things can be solved but unresolved . not necessarily a happy ending

End . unclear, weak closure; listeners . clear closure . clear, powerful closure say “huh?” . related to beginning; can travel backwards from the . come full circle, back to beginning in some . unrelated to beginning, story end through the threads of the story to get to the way . reader/listener emotionally beginning . there's a twist and/or irony that adds depth disappointed . perhaps a moral that sums up the learning value of . “show rather than tell” the point; instead of the story (telling rather than showing) if it fits a moral, the reader/listener sees the results of the solution and transformation by the actions of the characters

Storyboard Names______Date______Period______

______

______hd Video Segment Name______

Topic: People and Jobs: Do You Need:

Cue Cards? Yes No

Computer Graphics? Yes No

Background Music? Yes No

Setting: To Make Arrangements with People Outside Class? Yes No

If yes, explain:

Length of Segment Equipment Needed:

When Do You Need to Tape? Has Your Script Been Approved? Yes No

Please attach script. Images Transitions Effects Voiceover Soundtrack

Images Transitions Effects Voiceover Soundtrack Supplementary Page 1 of 5

The purpose of this "Supplementary Resources" web page is to provide extensive resources for those engaged in learning through digital storytelling. As more and more schools acquire digital cameras and install the easy-to-use " Photo Story 3 " freeware on Windows XP computers, students will be able to showcase and celebrate educational moments.

Remember: "Think Story ... NOT Software"

The main sections on this web page include:

1. What is Digital Storytelling ?

2. Digital Storytelling Examples Worth Investigating

3. Fostering Digital Storytelling in the Classroom

4. Digital Camera Tips & Resources

5. Time Saving Tips

6. Photo Story Tutorials

7. Image Resources

8. Audio Resources

9. Evaluation & Rubrics for Digital Storytelling

10. Digital Storytelling Books (for download)

11. Windows Freeware for Digital Storytelling

1. WHAT IS DIGITAL STORYTELLING?

Memory's Voice's: A Guide to Digital Storytelling at: http://www.storycenter.org/memvoice/index.html

Center for Digital Storytelling at: http://www.storycenter.org/

Digital Storytelling Cookbook at:

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http://www.storycenter.org/memvoice/pages/cookbook.html

Tell Me a Story Reflective Assessment Project at: http://t3.k12.hi.us/t302-03/tutorials/digstory/index.htm

The Seven Elements of Digital Storytelling at: http://t3.k12.hi.us/t302-03/tutorials/digstory/elements.htm

The Elements of Digital Storytelling at: http://www.inms.umn.edu/Elements/index.php

2. DIGITAL STORYTELLING EXAMPLES WORTH INVESTIGATING:

Digital Storytelling in the Scott County Schools - Georgetown, Kentucky at: http://www.scott.k12.ky.us/technology/digitalstorytelling/ds.html

Teachers' Digital Stories from Scott County at: http://www.scott.k12.ky.us/technology/digitalstorytelling/teacherstories.html

Students' Digital Stories from Scott County at: http://www.scott.k12.ky.us/technology/digitalstorytelling/studentstories.html

3. FOSTERING DIGITAL STORYTELLING IN THE CLASSROOM:

Manitoba Education, Citizenship and Youth - " Curriculum Navigator " at: http://www3.edu.gov.mb.ca/cn/index.jsp

Digital Storytelling Finds Its Place in the Classroom at: http://www.infotoday.com/MMSchools/jan02/banaszewski.htm

The Story Connection - Storytelling Games at: http://www.storyconnection.net/activities.htm

Native American Lore at: http://www.ilhawaii.net/~stony/loreindx.html

Digital Storytelling in a Nutshell at: http://www.scott.k12.ky.us/technology/digitalstorytelling/dst.inanutshell.pdf

Guidelines for Scott County Digital Storytelling Script at: http://www.scott.k12.ky.us/technology/macul2004/7elementsdst.pdf

Digital Storytelling Resources for Teachers at: http://www.techteachers.com/digitalstorytelling.htm

DigiTales: The Art of Telling Digital Storytelling at: http://www.digitales.us/

Pembina Trails: Digital photography in the classroom at:

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http://www.pembinatrails.ca/program/technology/digital_photography_in_the_class.htm

Educational Uses of Digital Storytelling at: http://www.coe.uh.edu/digital-storytelling/default.htm

Digital and Traditional Storytelling at: http://www.jasonohler.com/storytelling/

A Story About Teaching Digital Storytelling at Scottsdale ... College http://www.mcli.dist.maricopa.edu/forum/spr04/dstory.html

4. DIGITAL CAMERA TIPS & RESOURCES:

A Beginner's Guide to Digital Photography at: http://tlc.ousd.k12.ca.us/~acody/digi1.html

Taking better pictures: composition at: http://www.microsoft.com/windowsxp/using/digitalphotography/learnmore/composition.mspx

VidTips: Composition Rules at: http://kidsvid.hprtec.org/vidtips/comp01.html

10 Tips for Capturing Great Photos at: http://education.apple.com/education/ilife/howto/digitalphoto_tips/

5. TIME-SAVING TIPS:

Rename a batch of photos all at once at: http://www.microsoft.com/athome/morefun/renamephotos.mspx

6. PHOTO STORY TUTORIALS:

Create your first photo story at: http://www.microsoft.com/windowsxp/using/digitalphotography/photostory/tips/firststory.mspx

Beginner's Guide to Photo Story at: http://www.windowsphotostory.com/

Digital Storytelling Using Photo Story 3 at: http://www.wsd1.org/digitalstorytelling/resources/supplementary/photostory-handout.doc

Photo Story 3 Workshop Tutorials at: http://www.coe.uh.edu/digital-storytelling/resources.htm#workshop

Create a Story from a Single Still Photo with Photo Story 3 at:

http://www.microsoft.com/windowsxp/using/digitalphotography/photostory/tips/create.mspx

PapaJohn's Newsletter #25 - Special Edition: 'Photo Story 3' at:

http://www.wsd1.org/digitalstorytelling/resources/supplementary/default.htm 10/08/2007 Supplementary Page 4 of 5

http://www.windowsmoviemakers.net/PapaJohn/25/Photo_Story_3.aspx

7. IMAGE RESOURCES: (Check copyright restrictions.)

Winnipeg School Division's " Images for Sharing " at: http://www.wsd1.org/imagesforsharing/

Images Canada at: http://www.imagescanada.ca/index-e.html

Pics4Learning at: http://pics4learning.com/

Digital Library Project at: http://elib.cs.berkeley.edu/photos/about.shtml

8. AUDIO RESOURCES: (Check copyright restrictions.)

Freeplay Music at: http://www.freeplaymusic.com/

Soundzabound at: http://www.soundzabound.com/index.htm

FindSounds - Search the Web for Sounds at: http://www.findsounds.com/

Flash Kit Sound Loops at: http://www.flashkit.com/loops/

9. EVALUATION & RUBRICS FOR DIGITAL STORYTELLING:

A Digital Storytelling Rubric at: http://www.coe.uh.edu/digital-storytelling/evaluation.htm

Rubrics for Digital Storytelling at: http://www.techteachers.com/digstory/gradclass/rubrics.htm

10. DIGITAL STORYTELLING BOOKS (FOR DOWNLOAD):

"Telling your story: Putting the Story into Storytelling " by Jason Ohler at: http://www.jasonohler.com/pdfs/storybook11-v2.pdf

"Digital Storytelling Cookbook " by Joe Lambert at: http://www.storycenter.org/cookbook.pdf

http://www.wsd1.org/digitalstorytelling/resources/supplementary/default.htm 10/08/2007 Supplementary Page 5 of 5

11. WINDOWS FREEWARE:

Microsoft's " Photo Story 3 " for XP computers at: http://www.microsoft.com/windowsxp/using/digitalphotography/photostory/default.mspx

MindMan Personal - a tool to assist in concept or mind mapping at: http://www.wsd1.org/digitalstorytelling/resources/supplementary/mmpersonal30-2e.exe

Cogitum Co -Citer a tool for creating a collections of texts from the Internet at: http://www.cogitum.com/

Image Co -Tracker - is a tool for creating a database of images from the Internet at: http://www.cogitum.com/

Picasa 2 - freeware to organize and find photos quickly on one's computer at: http://picasa.google.com/index.html

IrfanView - save time with this graphic viewer/conversion program at: http://www.irfanview.com/

To gain a better understanding of the capabilities of Irfanview, check the following two "Bits and Bytes" articles:

November 2002 - " Irfanview - Image freeware you can count on !" at: http://www.wsd1.org/bitsbytes/0203/bbnov02/default.htm

December 2002 - " More Irfanview Time -Saving Tips " at: http://www.wsd1.org/bitsbytes/0203/bbdec02/default.htm

Storyboard Pro at: http://www.atomiclearning.com/storyboardpro

Audacity - audio editor and recorder at: http://audacity.sourceforge.net/

http://www.wsd1.org/digitalstorytelling/resources/supplementary/default.htm 10/08/2007

'Anti-Bullying' Video Production Rubric

Level 1 Level 2 Level 3 Level 4 Ideas and Content Video clip uses insufficient Video clip depicts a conflict Video clip portrays a conflict Video clip describes a realistic Explain how people’s actions examples to describe how situation from only one situation and explains how conflict situation and clearly (e.g., bullying, excluding others) bullying can affect others. perspective. bullying can affect the feelings portrays how bullying can can affect the feelings and and reactions of others. affect the feelings and Video clip uses limited Video clip portrays few conflict reactions of other. reactions of others from resolution strategies to resolution strategies to deal Video clip presents several multiple perspectives. Apply and demonstrate conflict deal with bullying. with bullying. conflict resolution strategies to resolution strategies deal with bullying. Video clip clearly identifies several effective conflict resolution strategies to deal with bullying. Organization Clip Selection Clip Selection Clip Selection Clip Selection Generate, gather, and organize Clips do not fit the Clips rarely fit the storyline. Clips sometimes fit the Clips consistently fit the ideas and information to write for storyline. Clips are not Clips are seldom long enough storyline. Clips are often long storyline. Clips are just long an intended purpose long enough to make each to make each point clear. Clip enough to make each point enough to get the message and audience. point clear. Clip length length does not vary to suit clear, and the clip length across, and the clip length does not vary to suit the the scene. usually varies enough to suit varies to suit the scene. scene. the scene. Transitions Transitions Transitions Transitions between clips Transitions Transitions between clips vary Transitions between clips rarely vary to suit the mood Transitions between clips to effectively suit the mood are used inappropriately. and context. often vary to suit the mood and context of the intended and context. message. Sequence Sequence Clips do not appear in Clips sometimes appear in Sequence Sequence proper sequence to tell the proper order to tell the idea as Most clips are in an Clips appear in the proper story. outlined in the storyboard. appropriate order to tell the order to effectively tell the idea as outlined in the idea as outlined in the storyboard. storyboard. Effective Use of Script/Screenplay Script/Screenplay Script/Screenplay Script/Screenplay Language/Expression Very few sentences vary Some sentences may vary in Most sentences vary in length Sentences vary in length as Use editing, proofreading, and in length or structure. length but not in structure. and structure. Dialogue well as structure. Dialogue publishing skills and strategies, Dialogue sounds Dialogue sometimes sounds usually sounds natural. The sounds natural. Purposeful and knowledge of language unrehearsed and un- unnatural. A few sentences majority of sentences begin in and varied sentence conventions, to correct errors, natural. Majority of all vary in length and have a variety of ways, and beginnings add variety and refine expression, and present sentences begin the same different beginnings. sentence lengths usually vary. energy.

Media Literacy 1 © Queen's Printer for Ontario, 2006

Level 1 Level 2 Level 3 Level 4 their work effectively. way and are of the same length. Titles Titles Titles Some titles are clear and easy Most titles are clear and easy All titles are clear and easy to Titles to read and of appropriate to read. Font size is usually read. Font size is appropriate, Only a few titles are clear size. Pace of titles adds to the appropriate, and pace of titles and pace of titles adds to the and easy to read. Font content in a few cases. Some adds to the content. The overall message of the video. size is inappropriate and titles follow conventions. majority of the titles follow All titles consistently follow distracts from the content. conventions. rules and conventions. Titles do not follow conventions. Voice and Audience The development of the The anti-bullying message in Video clip is realistic, and Video clip is realistic, and Create a variety of media texts for anti-bullying message in the video clip is somewhat somewhat engaging. Video engaging. Video makes the different purposes and audiences, the video is limited and realistic but doesn’t reflect a usually makes the viewer viewer think about, and react using appropriate forms, does not represent a point unique or individual think about, and react to, the to, the group's ideas and point conventions, and techniques. of view. perspective on the topic. group's ideas and point of of view. view. Symbolic and Technical Camera techniques: Camera techniques: Camera techniques: Camera techniques: Conventions Shots are blurry and do Some shots are clearly Most shots are clearly focused Shots are clearly focused and Identify some media forms and not appear in frames. focused and well framed. and well framed. Camera consistently well framed. explain how the conventions and Camera placement and Camera placement and placement and movement are Camera placement and techniques associated movement are movement are sometimes often chosen for the desired movement are effectively with them are used to create inappropriate for the chosen for the desired effect effect to suit the message. chosen for the desired effect meaning. desired effect to suit the to suit the message. to suit the message. Video cropping: message. Video cropping: Most clips show no excess Video cropping: Video cropping: The clips show some excess footage. The clips show no excess Many clips show excess footage. footage. Sound footage. Sound Sound is well coordinated with Sound Sound Some sound clips are well most visuals. Sound choice Sound is always well Sound and visuals are coordinated with visuals. adds to most of the meaning coordinated with visuals. rarely well coordinated. Sound choice usually adds to or tone. Sound choice adds to the Sound choice distracts the meaning or tone. overall meaning or tone. from the meaning or tone.

Adapted with permission from the "Write to Produce" Project, Halton District School Board (February 2006)

Media Literacy 2 © Queen's Printer for Ontario, 2006

Video Script Writing Rubric Group:

Level 1 Level 2 Level 3 Level 4 Ideas and Content Script uses insufficient Script depicts conflict situation Script portrays a conflict Script describes a realistic Explain how people’s actions examples to describe how from one perspective. situation, and explains how conflict situation and clearly (e.g., bullying, excluding others) bullying can affect others. bullying can affect the feelings portrays from multiple Script portrays few conflict can affect the feelings and and reactions of others. perspectives how bullying can Script uses limited resolution strategies to deal reactions of others. affect the feelings and resolution strategies to with bullying. Several conflict resolution reactions of others. Apply and demonstrate conflict deal with bullying. strategies are introduced. resolution strategies. Several different conflict resolution strategies have been clearly identified and portrayed. Planning Examples and dialogue do Examples and dialogue Examples and dialogue Intended topic, audience, and Plan for writing by generating, not connect. seldom connect. usually connect. purpose of script are made researching, and organizing ideas clear through the consistent Topic, audience, and Intended topic, audience, and Intended topic, audience, and and supporting details for an use of well-connected ideas purpose of script are purpose of script are purpose of script are clear. intended audience and purpose. and dialogue. unclear. somewhat unclear. Drafting and Revising Script includes limited Script includes some Script includes some Script includes effective Draft and revise writing using persuasive language and persuasive language and one persuasive language and persuasive language and appropriate informational/ literary/ point of view appropriate point of view appropriate to points of view appropriate to multiple points of view graphical forms and stylistic to convey the anti-bullying convey the anti-bullying convey the anti-bullying appropriate to clearly convey elements for an intended message. message. message. the anti-bullying message. audience and purpose. Editing, Proofreading, and Final draft of script does Final draft of script follows Final draft of script follows Final draft of script follows all Publication not follow editing several editing guidelines and most editing guidelines and editing guidelines and Use editing, proofreading, and guidelines and conventions developed with conventions developed with conventions developed with publication strategies to make conventions developed peers and the teacher. peers and the teacher. peers and the teacher. writing accessible, with peers and the understandable, and inviting for teacher. the audience

Comments:

Media Literacy © Queen's Printer for Ontario, 2006 Digital Storytelling Class Project Chart

Finish Burn to Finalize Digitize Adjust Insert Titles & Transi- Digital CD/DVD/ Permission Name Script Storyboard Images Photos Voiceover Images Add Music Credits tions Story Firewire Slips EdTech Connect The Library of Congress is an “Media for Motivating Minds” incredible resource Master List of Resources databank. For Webinar, Jan.18

General Guide: There are Image Libraries, Video Libraries, and Exhibitions online. All have stupendous resources—if you look in the right place. This guide is to give you a starting point. http://www.loc.gov/ The home page of the Library of Congress. A great portal to image, video, and audio resources. http://www.loc.gov/rr/print/catalog.html The online print catalogue http://lcweb2.loc.gov/pp/pphome.html PRINT/IMAGE HOME The collection (see next page). http://memory.loc.gov/ammem/film.html - VIDEO HOME (see following pages) http://international.loc.gov/intldl/intldlhome.html World cultures & resources. A deep resource for information about nearly any county and culture. • http://www.loc.gov/rr/international/portals.html Links to every country for in depth information. • http://corc.oclc.org/WebZ/XPathfinderQuery?sessionid=0:term=4764:xid=LCP search engines example of links to other authoritative sites. http://www.loc.gov/exhibits/ - ONLINE MUSEUM EXHIBITS (see following pages) http://www.loc.gov/exhibits/lewisandclark/lewisandclark.html - examples http://www.loc.gov/exhibits/gadd/ - Gettysburg address, documents, photos http://www.loc.gov/rr/print/swann/craws/ - cartoons and caricatures http://memory.loc.gov/ammem/ccmphtml/index.html - Coca-cola history, ads http://memory.loc.gov/ammem/videomore.html#chart -- chart of video formats http://memory.loc.gov/ammem/amviewer.html#qt&mpgfilm - general info.

Exhibitions

Click on the links below to go to the online version of the Exhibitions put together at the Library of Congress http://lcweb.loc.gov/exhibits/ Exhibitions – Online text, pictures, and more.

• Top Treasures (some great stuff!) - http://www.loc.gov/exhibits/treasures/tr00.html • Rivers, Edens, Empires – Lewis & Clark and the Revealing of America http://www.loc.gov/exhibits/lewisandclark/ • American Treasures of the Library of Congress http://www.loc.gov/exhibits/treasures/ o Reason, Imagination, Memory Themes • Bob Hope and American Variety http://www.loc.gov/exhibits/bobhope/ • The Dream of Flight http://www.loc.gov/exhibits/treasures/wb-home.html .

Hdavidson, Schoolhouse Video, 2004 [email protected] 1 1492: An Ongoing Voyage http://www.loc.gov/exhibits/1492/ The African-American Mosaic: African-American Culture and History http://www.loc.gov/exhibits/african/intro.html The African American Odyssey: A Quest for Full Citizenship http://lcweb2.loc.gov/ammem/aaohtml/ Al Hirschfeld - Beyond Broadway http://www.loc.gov/rr/print/swann/hirschfeld/ American Treasures of the Library of Congress http://www.loc.gov/exhibits/treasures/ Ancient Manuscripts: From the Desert Libraries of Timbuktu http://www.loc.gov/exhibits/mali/ Arthur Szyk: Artist for Freedom http://www.loc.gov/rr/print/swann/szyk/ Blondie Gets Married! Comic Strip Drawings by Chic Young http://www.loc.gov/rr/print/swann/blondie/ Bob Hope and American Variety http://www.loc.gov/exhibits/bobhope/ Creative Space: Fifty Years of Robert Blackburn's Printmaking Workshop http://www.loc.gov/exhibits/blackburn/ Creating French Culture: Treasures from the Bibliothèque Nationale de France http://www.loc.gov/exhibits/bnf/bnf0001.html Declaring Independence: Drafting the Documents - http://www.loc.gov/exhibits/declara/declara1.html Dresden: Treasures from the Saxon State Library http://www.loc.gov/exhibits/dres/dresintr.html The Dream of Flight: A Library of Congress Special Presentation Commemorating the Centennial of Flight http://www.loc.gov/exhibits/treasures/wb-home.html Earth as Art: A Landsat Perspective http://www.loc.gov/exhibits/earthasart/ July23, 2002 - July 23, 2003 The Empire That Was Russia: http://www.loc.gov/exhibits/empire/ The Floating World of Ukiyo-e: Shadows, Dreams, and Substance http://www.loc.gov/exhibits/ukiyo-e/ Frank Lloyd Wright: Designs for an American Landscape, 1922-32 http://www.loc.gov/exhibits/flw/flw.html For European Recovery: The Fiftieth Anniversary of the Marshall Plan http://www.loc.gov/exhibits/marshall/ The Gettysburg Address http://www.loc.gov/exhibits/gadd/ Herblock's Gift: Selections from the Herb Block Foundation Collection http://www.loc.gov/rr/print/swann/hbgift/ Herblock's History: Political Cartoons from the Crash to the Millennium http://www.loc.gov/rr/print/swann/herblock/ In the Beginning Was the Word: The Russian Church and Native Alaskan Cultures http://www.loc.gov/exhibits/russian/russch0.html John Bull & Uncle Sam: Four Centuries of British-American Relations http://www.loc.gov/exhibits/british/ Language of the Land: Journeys Into Literary America http://www.loc.gov/exhibits/land/ Life of the People: Realist Prints & Drawings from the Ben & Beatrice Goldstein Collection http://www.loc.gov/exhibits/goldstein/ Madison's Treasures http://www.loc.gov/exhibits/madison/ Margaret Mead: Human Nature and the Power of Culture http://www.loc.gov/exhibits/mead/ Monstrous Craws & Character Flaws: Masterpieces of Cartoon and Caricature http://www.loc.gov/rr/print/swann/craws/ Oliphant's Anthem: Pat Oliphant at the Library of Congress http://www.loc.gov/exhibits/oliphant/ Petal From the Rose: Illustrations by Elizabeth Shippen Green http://www.loc.gov/rr/print/swann/petal/ Religion and the Founding of the American Republic http://www.loc.gov/exhibits/religion/ Revelations from the Russian Archives http://www.loc.gov/exhibits/archives/intro.html Roger L. Stevens Presents http://www.loc.gov/exhibits/stevens/ Rome Reborn: The Vatican Library and Renaissance Culture http://www.loc.gov/exhibits/vatican/toc.html Scrolls from the Dead Sea: The Ancient Library of Qumran and Modern Scholarship http://www.loc.gov/exhibits/scrolls/toc.html Sigmund Freud: Conflict & Culture http://www.loc.gov/exhibits/freud/ Stagestruck!: Performing Arts Caricatures at the Library of Congress http://www.loc.gov/rr/print/swann/stagestruck/ Temple of Liberty: Building the Capitol for a New Nation (Old flags & much more) http://www.loc.gov/exhibits/us.capitol/s0.html Thomas Jefferson http://www.loc.gov/exhibits/jefferson/ The Water-Babies: Illustrations by Jessie Willcox Smith http://www.loc.gov/rr/print/swann/waterbabies/ When They Were Young: A Photographic Retrospective of Childhood http://www.loc.gov/exhibits/young/

Hdavidson, Schoolhouse Video, 2004 [email protected] 2 Witness and Response: September 11 Acquisitions at the Library of Congress http://www.loc.gov/exhibits/911/ The Wizard of Oz: An American Fairy Tale http://www.loc.gov/exhibits/oz/ Women Come to the Front: Journalists, Photographers, and Broadcasters During WWII http://www.loc.gov/exhibits/wcf/wcf0001.html The Work of Charles and Ray Eames: A Legacy of Invention http://www.loc.gov/exhibits/eames/ World Treasures of the Library of Congress: Beginnings http://www.loc.gov/exhibits/world/ Video Archives America at Work, America at Leisure: Motion Pictures from 1894-1915 http://memory.loc.gov/ammem/awlhtml/awlhome.html ** * http://memory.loc.gov/ammem/awlhtml/workleissubjindex1.html The American Variety Stage: Vaudeville and Popular Entertainment, 1870-1920 http://memory.loc.gov/ammem/vshtml/vshome.html ** * http://memory.loc.gov/ammem/vshtml/vsfmlst.html Before and After the Great Earthquake and Fire: Early Films of San Francisco, 1897-1916 http://memory.loc.gov/ammem/papr/sfhome.html ** * http://memory.loc.gov/cgi-bin/query/S?ammem/papr:@FIELD(COLLID+sanfran) Buckaroos in Paradise: Ranching Culture in Northern Nevada, 1945-1982 http://memory.loc.gov/ammem/ncrhtml/crhome.html ** * http://memory.loc.gov/ammem/ncrhtml/ncrsubjindex.html Fifty Years of Coca-Cola Television Advertisements: Highlights from the Motion Picture Archives at the Library of * Congress "I Do Solemnly Swear...": Presidential Inaugurations http://memory.loc.gov/ammem/pihtml/pihome.html Inside an American Factory: Films of the Westinghouse Works, 1904 http://memory.loc.gov/ammem/papr/west/westhome.html ** * http://memory.loc.gov/ammem/papr/westhsubjindex1.html Inventing Entertainment: the Early Motion Pictures and Sound Recordings of the Edison Companies http://memory.loc.gov/ammem/edhtml/edhome.html (videos) http://memory.loc.gov/ammem/edhtml/edmvalpha.html (videos) ** * http://memory.loc.gov/ammem/edhtml/edsndhm.html (sound) http://memory.loc.gov/ammem/edhtml/eddcalpha.html (sound) The Last Days of a President: Films of McKinley and the Pan-American Exposition, 1901 http://memory.loc.gov/ammem/papr/mckhome.html ** * http://memory.loc.gov/cgi-bin/query/S?ammem/papr:@FIELD(COLLID+mckin) The Life of a City: Early Films of New York, 1898-1906 http://memory.loc.gov/ammem/papr/nychome.html ** * http://memory.loc.gov/cgi-bin/query/S?ammem/papr:@FIELD(COLLID+newyork) Origins of American Animation http://memory.loc.gov/ammem/oahtml/oahome.html ** * http://memory.loc.gov/ammem/oahtml/oachron.html Prosperity and Thrift: The Coolidge Era and the Consumer Economy, 1921-1929 http://memory.loc.gov/ammem/coolhtml/coolhome.html ** http://memory.loc.gov/ammem/coolhtml/coolbibsubjindex1.html The Spanish-American War in Motion Pictures http://memory.loc.gov/ammem/sawhtml/sawhome.html ** http://memory.loc.gov/ammem/sawhtml/spanamsubjindex1.html Theodore Roosevelt: His Life and Times on Film http://memory.loc.gov/ammem/trfhtml/trfhome.html *** http://memory.loc.gov/ammem/trfhtml/rooseveltsubjindex1.html

Video Archives (not in the Library of Congress http://www.achievement.org Great interviews, movies, text from living authors, scientists, scientists, etc. (See Resource Appendixes for “linked” list). Good (but small) video clips, interviews, pictures. A good source for contemporary voices and narratives. http://www.achievement.org/autodoc/pagegen/galleryachieve.html -archive list

Hdavidson, Schoolhouse Video, 2004 [email protected] 3

http://www.archive.org - The “way-back” machine http://www.archive.org/movies/movies.php - Astonishing old clips, ads, education films.

1. ABDUL HAMID II COLLECTION [ahii] -- about 1,819 photographs 1. CARTOON PRINTS, AMERICAN [cpam] -- mounted in albums http://lcweb2.loc.gov/pp/ahiiquery.html http://lcweb2.loc.gov/pp/appquery.html About 700 prints. ca. 1766-1876. Political satires, caricatures, and allegories printed ca. 1880-1893. Photographic survey of the Ottoman Empire. More information in the U.S. How much digitized? Most Jpegs/tiffs display outside Library of Congress? Yes How much digitized? All Jpegs/tiffs display outside Library of Congress? Yes Sample images 2. AFRICAN AMERICAN PHOTOGRAPHS ASSEMBLED FOR 1900 PARIS Sample images EXPOSITION [anedub] -- http://lcweb2.loc.gov/pp/anedubquery.html about 2. CASE BOOKS [casebk] -- 475 photographs (records being added) http://lcweb2.loc.gov/pp/casebkquery.htmlabout 2,000 books and ca. 1899. Photos gathered for use in the American Negro Exhibit at the Paris serials ca. 1557-2000. Books, serials and published, bound Exposition, consisting of portraits and scenes of education, work, and daily containing original photographs, engravings, and other kinds of graphic materials. How much digitized? None life. Includes more than 360 photos presented by W.E.B. Du Bois. More information 3. CIVIL WAR PHOTOGRAPHS [cwp] -- How much digitized? All Jpegs/tiffs display outside Library of Congress? Yes Sample images 3. ANSEL ADAMS'S PHOTOGRAPHS OF JAPANESE-AMERICAN http://lcweb2.loc.gov/pp/cwpquery.html About 7,000 photographs. INTERNMENT AT MANZANAR [manz] 1861-1869. From the Civil War Photographs Collection. http://lcweb2.loc.gov/pp/manzquery.html -- 244 photographs How much digitized? All Jpegs/tiffs display outside Library of Congress? Yes Sample images 1943. Portraits, views of daily life, agricultural scenes, and sports and leisure. 4. CURTIS (EDWARD S.) COLLECTION [ecur] -- about 1,000 photographic prints (selection from full collection) How much digitized? All Jpegs/tiffs display outside Library of Congress? Yes Sample images 4. ARCHITECTURE, DESIGN & ENGINEERING DRAWINGS [ade] -- http://lcweb2.loc.gov/pp/ecurquery.html 1890-1929. Native http://lcweb2.loc.gov/pp/adequery.html About 38,500 drawings (ca. 3,700 Americans in the Pacific Northwest, New Southwest, Great Basin, catalog records). 1600-1989, bulk 1880-1940. Drawings, primarily for sites Great Plains, Plateau Region, California, and Alaska. Features and structures in the U.S. (especially Washington, D.C.), as well as Europe studio and field photographs. Comprises only images in the and Mexico, mostly by American architects and architectural firms. Most collection for which copy photos have been produced. More information How much digitized? All Jpegs/tiffs display outside Library of Congress? Yes Sample images cataloged in groups by project. How much digitized? Some Jpegs/tiffs display outside Library of 5. DAGUERREOTYPES [dag] -- Congress? No Sample images 5. BAIN COLLECTION http://lcweb2.loc.gov/pp/ggbainquery.html http://lcweb2.loc.gov/pp/dagquery.html About 735 daguerreotypes. 6. [ggbain] -- about 1,200 photographs 1839-1864. Primarily portraits and works of art. More information ca. 1900-1931 (bulk). Photos produced and gathered by George Grantham How much digitized? Most Jpegs/tiffs display outside Library of Congress? Yes Sample images Bain for his news photo service, including portraits and worldwide news 6. DETROIT PUBLISHING COMPANY [detr] -- events, but with special emphasis on life in New York City. Includes images http://lcweb2.loc.gov/pp/detrquery.html About 28,200 glass in the Bain collection for which copy photos have been produced. More information negatives, glass transparencies, and color photomechanical prints. How much digitized? Most Jpegs/tiffs display offsite? Yes Sample images 1885-1930. Chiefly scenes in U.S. and Latin America, including 7. BASEBALL CARDS [ball] http://lcweb2.loc.gov/pp/bbcardsquery.html -- landscapes, cityscapes, historic sites, architecture, vessels, industry, 2,100 baseball cards. 1887-1914. Baseball cards representing more than one etc. More information Sample images thousand major and minor league ballplayers (primarily major league), from 7. DRAWINGS (DOCUMENTARY) [dwgd] -- teams in thirteen identified leagues and seventy-five cities in the United http://lcweb2.loc.gov/pp/dwgdquery.html 2,464 drawings. States and Canada. (Note: Original materials are served by appointment.) More 1783-1865. Primarily eyewitness sketches of Civil War scenes and information How much digitized? All Jpegs/tiffs display outside Library of Congress? Yes Sample images events, including military personnel, battles, civilian activities, and 8. BRADY-HANDY COLLECTION http://lcweb2.loc.gov/pp/brhcquery.html landscapes. Also includes portraits, and American landscapes and 9. about 5,000 glass negatives ca. 1860-1875 (bulk). Original glass plate structures from earlier periods. negatives by Mathew Brady and Levin C. Handy studios; chiefly portraits of How much digitized? Some Jpegs/tiffs display offsite? Most do; a few do not Sample presidents, members of Congress, military and naval officers, justices of the images Supreme Court, actors, artists, religious leaders, and other notables. Also 8. FARM SECURITY ADMINISTRATION/OFFICE OF WAR includes views of Washington, D.C., and vicinity. More information INFORMATION BLACK-AND-WHITE NEGATIVES [fsabw] -- How much digitized? All Jpegs/tiffs display outside Library of Congress? Yes Sample images http://lcweb2.loc.gov/pp/fsaquery.html About 171,000 negatives: 10. BRUMFIELD COLLECTION [brum] -- 916 slides. 1987-2000. includes all FSA, OWI, and OEM negatives 1935-1945. Photos http://lcweb2.loc.gov/pp/brumquery.html Documents architectural heritage of documenting rural and urban conditions and lifestyles in the U.S. pre-Soviet Russia, highlighting wooden buildings, and religious, commercial and its territories; a few in Canada. Includes negatives the and industrial facilities, as well as some landscapes. More information FSA/OWI did not print, many of which lack identifying How much digitized? All Jpegs/tiffs display outside Library of Congress? Yes Sample images information. More information How much digitized? Most Jpegs/tiffs display outside 11. CABINET OF AMERICAN ILLUSTRATION [cai] -- About 4,000 drawings Library of Congress? Yes Sample images and prints. http://lcweb2.loc.gov/pp/caiquery.html 9. FARM SECURITY ADMINISTRATION/OFFICE OF WAR 1850-1930. Book and magazine illustrations and some graphic designs. INFORMATION COLOR PHOTOGRAPHS [fsac] -- (NOTE: Original drawings served only by appointment.) More information http://lcweb2.loc.gov/pp/fsacquery.htmlAbout 1,600 color transparencies. 1939-1944. U.S., Puerto Rico, and Virgin Islands How much digitized? Most Jpegs/tiffs display outside Library of Congress? No Sample images 12. CARPENTER COLLECTION http://lcweb2.loc.gov/pp/ffcarpquery.html scenes showing work and home life, culture, and war industry. More [ffcarp] -- about 1,600 photographs (selection from full collection; records information All Jpegs/tiffs display outside Library of Congress? Yes Sample images being added) 10. FENTON CRIMEAN WAR PHOTOGRAPHS [fenton] -- ca. 1860-1934, bulk 1880-1924. Photos produced and gathered by Frank and http://lcweb2.loc.gov/pp/ftncnwquery.html 263 photographs by Frances Carpenter to illustrate popular writings on world geography. Consists Roger Fenton.1855. Views of participants, landscapes and of photos in the Carpenter collection for which copy photos have been equipment. More information How much digitized? All Jpegs/tiffs display outside Library of produced. More information Congress? Yes Sample images 11. FINE PRINTS [finepr] -- http://lcweb2.loc.gov/pp/fineprquery.html How much digitized? All Jpegs/tiffs display outside Library of Congress? Yes Sample images 13. CARTOON DRAWINGS [cd] -- . http://lcweb2.loc.gov/pp/cdquery.html about 7,959 prints (selection from full collection; records being About 9,400 drawings.1794-1994. Political, editorial, and humorous cartoons added) ca. 1450-1997. Relief, intaglio, and planographic prints, and and caricatures by about 500 artists. other print media by artists and printmakers from the U.S., Europe, Africa, Canada, Latin America, Australia, and Asia. More information How much digitized? Many Jpegs/tiffs display outside Library of Congress? No Sample images 14. CARTOON DRAWINGS (SWANN COLLECTION OF CARICATURE NOTE: pre-1915 Japanese fine prints are made available through a AND CARTOON) [swan] http://lcweb2.loc.gov/pp/swannquery.html--About separate category. How much digitized? Some Jpegs/tiffs display outside Library of 2,000 drawings.1780-1975 (chiefly 1930's). Cartoons, caricatures, and Congress? No Sample images illustrations by various artists. (Note: Some original items are undergoing 12. FINE PRINTS: JAPANESE, pre-1915 [jpd] -- conservation and are unavailable for viewing.) http://lcweb2.loc.gov/pp/jpdquery.html about 300 prints and a few How much digitized? Some Jpegs/tiffs display outside Library of Congress? No Sample images drawings (selection from full holdings) 1688-1915. Primarily Hdavidson, Schoolhouse Video, 2004 [email protected] 4 15. CARTOON PRINTS, AMERICAN [cpam] -- About 700 prints. woodcuts depicting actors, women, landscapes, scenes from Japanese literature and daily life, English and European visitors. More 1. GENTHE COLLECTION [gen] -- http://lcweb2.loc.gov/pp/genthequery.html 1. POPULAR GRAPHIC ARTS [pga] -- about 9,940 prints (records being About 15,600 negatives and 1,200 autochromes, lantern slides and added) http://lcweb2.loc.gov/pp/pgaquery.html transparencies by Arnold Genthe. 1896-1942. Includes studio portraits, 1600-1943, bulk 1800-1890. Prints and illustrated broadsides of dancers, San Francisco Chinatown scenes, and travel photos More information historical, graphic and/or documentary importance produced in the U.S. How much digitized? Most Jpegs/tiffs display outside Library of Congress? No Sample images and abroad. More informationHow much digitized? Many Sample images 2. GOTTSCHO-SCHLEISNER COLLECTION [gsc] -- 2. POSTERS: ARTIST POSTERS [pos] http://lcweb2.loc.gov/pp/gottschoquery.html About 29,300 negatives and http://lcweb2.loc.gov/pp/posquery.html --About 1,700 posters selected slides. ca. 1935-1955. Northeastern U.S. and Florida, emphasizing from the Artist Poster filing series (records being added) architecture. More information How much digitized? All Jpegs/tiffs display outside Library of Congress? ca. 1840s-present. Posters notable for their design by artists (some Yes Sample images unidentified) from all countries. Includes all subjects (e.g., documentary 3. GRABILL COLLECTION [grabill] -- posters, travel and transportation, political propaganda, etc.). More information http://lcweb2.loc.gov/pp/grabillquery.html 190 photographic prints. How much digitized? Some Jpegs/tiffs display outside Library of Congress? No Sample images ca. 1888-1892. Photographs by John C. H. Grabill of frontier life in South 3. POSTERS: PERFORMING ARTS POSTERS [var] --About 2,100 Dakota and Wyoming, including scenes of railroad construction, cowboys posters. http://lcweb2.loc.gov/pp/varquery.html and miners, and the interactions between Native Americans and U.S. 1840-1936 (bulk 1879-1910). Posters from three collections: Theatrical officials. More information Jpegs/tiffs display outside Library of Congress? Yes Sample images Poster Collection (ca. 1,775 posters); Minstrel Poster Collection (ca. 175 4. HISTORIC AMERICAN BUILDINGS SURVEY/HISTORIC AMERICAN posters); and Magic Poster Collection (ca. 150 posters). ENGINEERING RECORD (HABS/HAER) [hh] -- Documentation for over How much digitized? Most Jpegs/tiffs display outside Library of Congress? Yes Sample images 35,000 sites and structures. http://lcweb2.loc.gov/pp/hhquery.html 4. POSTERS: SPANISH CIVIL WAR POSTERS [spcw] ca. 1930- . Measured drawings, photographs, and written historical and http://lcweb2.loc.gov/pp/spcwquery.html-- 124 posters. architectural information for structures and sites dating from the 17th-20th 1936-1939. Posters sponsored by Republican and anti-Republican centuries in the U.S. and its territories. More information groups, trade unions, Catalonian nationalists, and international factions, How much digitized? All Jpegs/tiffs display outside Library of Congress? Yes Sample documentation on themes relating to the causes, conduct, and consequences of the civil 5. HORYDCZAK COLLECTION [hory] -- About 14,000 negatives. war.How much digitized? All Jpegs/tiffs display outside Library of Congress? No Sample images 1923-1959. U.S., especially Washington, D.C., showing architecture and 5. POSTERS: WORLD WAR I POSTERS [wwipos] daily life http://lcweb2.loc.gov/pp/horydquery.html. More information http://lcweb2.loc.gov/pp/wwiposquery.html -- about 1,484 posters How much digitized? All Jpegs/tiffs display outside Library of Congress? Yes Sample images 1914-1920. American and French posters supporting the war effort. 6. JOHNSTON (FRANCES BENJAMIN) COLLECTION [fbj] -- About 1,200 (Note: Some posters will also be retrieved when searching Posters: photographs http://lcweb2.loc.gov/pp/fbjquery.html (selection from full Artist Posters). Jpegs/tiffs display outside Library of Congress? Yes Sample images collection; records being added) ca. 1850-1949, bulk 1897-1927. Photos 6. POSTERS: WPA POSTERS [wpapos] -- produced and gathered by Frances Benjamin Johnston in the course of her http://lcweb2.loc.gov/pp/wpaposquery.htmlAbout 900 posters. career as a photojournalist, portrait and architectural photographer. Consists 1936-1943. Posters produced by various branches of the WPA to primarily of photos in the Johnston collection for which copy photos have publicize exhibits, community activities, theatrical productions, and been produced. More information health and educational programs in seventeen states and the District of How much digitized? All Jpegs/tiffs display outside Library of Congress? Yes Sample images Columbia. More information Jpegs/tiffs display outside Library of Congress? Yes Sample images 7. LAWRENCE & HOUSEWORTH COLLECTION [lawhou] - About 900 7. POSTERS: YANKER POSTER COLLECTION [yan] photographic prints http://lcweb2.loc.gov/pp/lawhouquery.html http://lcweb2.loc.gov/pp/yankerquery.html -- About 3,500 items. ca. 1862-1867. Stereographic halves from the series published as Gems of 1927-1980, bulk 1965-1980. Political, propaganda and social issue California Scenery showing major settlements, boom towns, placer and posters, handbills, and a few bumper stickers, produced in the U.S. and hydraulic mining operations, shipping and transportation routes, and scenic about 50 other countries. More informationJpegs/tiffs display outside Library of Congress? No sites in northern California and western Nevada. More information 8. PROKUDIN-GORSKII COLLECTION [prok] How much digitized? All Jpegs/tiffs display outside Library of Congress? Yes Sample images http://lcweb2.loc.gov/pp/prokquery.html -- About 1,900 glass plate 8. LOMAX COLLECTION [lomax] -http://lcweb2.loc.gov/pp/lomaxquery.html negatives by Sergei Mikhailovich Prokudin-Gorskii using three-part 400 photographs.1934-ca. 1950. Snapshots documenting sound recording color separation technique, with about 100 modern digital color expeditions carried out by John Avery Lomax, Alan Lomax, and Ruby Terrill renderings and approximately 2,400 prints mounted in fourteen albums. Lomax for the Archive of American Folk Song, including African American 1909-1915. Photographic survey of the Russian Empire, showing people, and Latino musicians, singers, and dancers, primarily in the southern United religious architecture, historic sites, industry and agriculture, public States and the Bahamas. More information Jpegs/tiffs display outside Sample images works construction, water and railway transportation routes, villages and 9. LOOK COLLECTION [look] –NONE ONLINE at this time! 3.9 million cities. More information Jpegs/tiffs display outside Library of Congress? Yes Sample images photographs, negatives, and color transparencies (ca. 10,060 catalog records). 9. TISSANDIER COLLECTION [tisc] ca. 1951-1971. U.S. and international lifestyles, celebrities, and events, made http://lcweb2.loc.gov/pp/tiscquery.html -- about 420 prints, drawings for use in LOOK magazine.How much digitized? None and photographs (selection from full collection) 10. NATIONAL CHILD LABOR COMMITTEE COLLECTION [nclc] 1773-1909, bulk 1780-1880. Pictures documenting the early history of http://lcweb2.loc.gov/pp/nclcquery.html-- about 500 photographic prints aeronautics, with an emphasis on balloon flight. More information (selection from full collection; records being added) 1908-1924. Photographs, How much digitized? All Jpegs/tiffs display outside Library of Congress? Yes Sample images primarily by Lewis Hine, focusing on children, showing workers, working 10. VAN VECHTEN COLLECTION [vanv] and living conditions, and educational settings. Consists of a portion of the http://lcweb2.loc.gov/pp/vvquery.html About 1,400 photographs by Carl images from the collection for which copy photos have been produced. More Van Vechten.1932-1964. U.S. -- includes portraits of celebrities, information How much digitized? All Jpegs/tiffs display outside Library of Congress? Yes Sample images especially artists, entertainers, and authors, including African Americans 11. NATIONAL PHOTO COMPANY COLLECTION [npco] -- active in these fields. More information Jpegs/tiffs display outside Library of Congress? Yes http://lcweb2.loc.gov/pp/npcoquery.html about 1,700 photographs (selection 11. WORLD'S TRANSPORTATION COMMISSION [wtc] -- from full collection; records being added) ca. 1850-1945, bulk 1909-1932. http://lcweb2.loc.gov/pp/wtcquery.html 584 lantern slides and 297 Photos assembled by Herbert French, who supplied photographs of news photographic prints.1894-1896. Asia, Australia, and Oceania, showing events in Washington, D.C., to subscribers. Features portraits of presidents scenes and sites, with an emphasis on transportation systems. More information and celebrities and scenes of social life. Consists primarily of photos in the How much digitized? All Jpegs/tiffs display outside Library of Congress? Yes Sample images National Photo Company Collection for which copy photos have been 12. WRIGHT BROTHERS NEGATIVES produced. More information Jpegs/tiffs display outside Library of Congress? Yes Sample images http://lcweb2.loc.gov/pp/wriquery.html303 negatives 1897-1928. 12. PANORAMIC PHOTOGRAPHS [pano] -- Photos, mostly taken by the Wright brothers to document their new http://lcweb2.loc.gov/pp/panquery.html 4,200 photographs. flying machines, including views of their laboratory, engines, models, 1880-1930. U.S. and foreign sites, showing cities and towns, as well as experimental planes, runways, flights, accidents, as well as portraits, events, industries, and group portraits. More information buildings and landscapes. Jpegs/tiffs display outside Library of Congress? Yes How much digitized? MostHdavidson, Jpegs/tiffs Schoolhouse display outside LibraryVideo, of 2004Congress? [email protected] Yes Sample images 13. ITEMS IN HIGH DEMAND (MISCELLANEOUS) 5 [item] -- 13. PHOTOCHROM PRINTS [pchrom] -http://lcweb2.loc.gov/pp/pgzquery.html http://lcweb2.loc.gov/pp/cphquery.html About 56,385 prints, about 5,900 items ca. 1890-1905. People, architecture and sites in Europe, photographs, and drawings cataloged since 1989--successor to North Africa, and the Middle East. More information Biographical and Subject card indexes; (records being added) From the The Educational Technology: ICT in Education website Articles on e-learning and information & communication technology containing practical advice

TEACHING AND USING EDUCATIONAL TECHNOLOGY Digital Storytelling: A Practical Classroom Management Strategy By Mechelle M. De Craene Thu, 3 Aug 2006, 09:06

Digital storytelling is a great idea, but where do you start? Mechelle De Craene outlines some practical strategies to enable you and your students to get the most out of this exciting medium.

Before "Roll-em!" is yelped through a paper-made bullhorn, students and teacher tread in pre-production territory. But what does this look like in the everyday classroom? Moreover, what are some effective ways that teachers can embark in the creation of a digital story without utter chaos in a classroom full of 30 or more youngsters?

Every teacher goes through trial-and-error when learning something new such as digital storytelling, and every teacher tailors to his or her classroom needs -- but thankfully teachers share and share alike. As such, as a teacher, I wanted to share a few classroom practicalities that worked well for me. Therefore, this article contains some of the gems that I gleaned from my experiments. To date, I’ve ventured into two digital storytelling projects both with gifted students and students with special needs.

Digital storytelling is when an individual or group of people craft a movie from start to finish. The entire process of digital storytelling consists of three phases: (1) pre- production, (2) production, and (3) post-production. This article will focus on the pre- production phase geared for teachers because whilst much is written about digital storytelling itself little is written in the way of classroom management practicalities for the everyday classroom.

Pre-production is the cornerstone of building a digital story. It is the first stage of producing a video when idea sharing takes place, responsibilities are assigned, and when sketches and text seem to animatedly evolve as the storyboard is written. Therefore, organisation of roles and responsibilities is essential.

Children at this phase are excited about the production and all want their ideas included. Left without a game plan, pre-production can be quite a fiasco for a teacher with 30 or more youngsters. Many students get hyped up a notch upon telling them the plans to create a digital story. As such, almost always all hands go up and a gaggle of students waddle up to surround you.

So, one Friday afternoon whilst proactively thinking about how to keep the kiddies from swinging from the chandeliers, I thought of various grouping strategies. Then, (thankfully) I had a bit of a weekend epiphany that I found was key for classroom management success in digital storytelling. Namely, I decided to incorporate the literature circle model in the pre-production phase to be tried out the following Monday. Literature circles were already a part of my students’ Language Arts curriculum. Therefore, it was a familiar learning framework for my students to anchor onto whilst learning the process of digital storytelling -- and to get the creative ball rolling, so to speak.

In the literature circle model, there are many different roles that each member of the group takes. These roles traditionally include:

Discussion Director (i.e. captain)

Summariser

Investigator

Illustrator, and

Connector.

Furthermore, I included three additional roles to help in the pre-production phase of digital storytelling for the larger groups. They are as follows:

The Travel Tracer (i.e. transition master)

The Timekeeper and

The Recorder.

Note: (Teacher-tip from the get-go) Providing a folder for each literature circle group and numbering them by table to be turned in to teacher at the end of the class period is an effective way to keep track of each group progress as well as materials. All notes from the recorder are kept here as well as storyboard drafts. Moreover, keeping a master teacher folder of the finalised storyboards and providing copies to the students for practice helps if a student may loose their work or in case their work has been ‘eaten by the family pet’.

Here is a brief synopsis of the roles:

Discussion Director (i.e. team captain): He or she leads and encourages group discussion, whilst redirecting those who may be off task. Additionally, the discussion director reports directly to the teacher on their group’s daily outcomes.

Summariser: This individual summarises the discussion. Therefore, he or she gives a brief synopsis of the main ideas and character generation gleaned from the discourse. This person sums up the daily discussion and recaps the previous day’s discussion at the beginning of each new discussion meeting.

Investigator: The investigator’s job is to "dig up" useful bits of information that may be helpful to the group, such as background knowledge or the latest research advances on a particular subject. He or she may also do interviews similar to a reporting style to gather information. The investigator is also the one who may leave the circle as needed to glean information via the Internet. (However, if possible a laptop or two at each circle’s table works best.)

Illustrator: He or she creates some kind of visual image of the ideas cultivated during the discussion. He or she can do this via graphic organizers such as diagrams, concept maps, or flow charts (e.g. using Inspiration software), a cartoon (e.g. via Apple Comic Life), or even sketching stick figures on the eventual sidebar of the storyboard.

Connector: The connector strives to make connections between the ideas and information shared in the group with practical use for the real world. The connector asks the group such questions as: What do you hope the audience will take away by watching the film? Do you want the audience to take action? Do you want the audience to advocate? What are the real world applications? What is the main message we want to send to our viewers?

Travel Tracer (i.e. transition master): Frequently when creating a digital story the scenery will change. It is this individual’s job to make sure that transitions are discussed and written into the overall storyline. He or she is also responsible for leading the discussion on what supplies, sets, and costumes are needed from location to location and/or stage setting. Eventually, the travel tracer helps label the clapperboard at each take.

Teacher Tip: Using a clapperboard during production is very helpful when editing in post-production, and it’s fun for the kids to say, ‘take two’ -- or should I say, ‘one hundred and thirty two.’

Timekeeper: It is the timekeeper’s job to do just that: keep time. He or she holds the stopwatch. Time is essential in creating a digital storytelling project. Therefore, in the storyboard phase drafted roles should be rehearsed by students and timed. Even if the times may not turn out exact from storyboard to production at least you and your students will know an estimated time on how long each section of your class story will take.

Recorder: Whilst your kinesthetic learners will want to take notes -- and rightly so -- it is the recorder’s primary duty to take notes or type notes on the literature circle discussion. Typed notes work best because edits are made easily and each group can be added into the whole-class storyboard. He or she will type the drafts of the storyboard for the group, type script into a teleprompter if used in a school TV production room, and make cue cards as needed for on location shots.

The teacher’s pre-production role is to facilitate all circle discussions. Additionally, you may notice that many zealous students will send e-mails to you of various ideas that sprung up whilst at home. If this is the case for your classroom, an effective way for students to continue their collaboration and share their ideas is to have the students extend their collaboration virtually via the blogosphere. Encourage each discussion director (i.e. captain) to set up a team blog. It not only serves to keep the group’s sudden ideas (i.e. light bulb moments) organised, it can be a record displaying the contributions of each group member. In addition, blogs are a great platform for students to reflect on their creative process of their digital storytelling project.

In summary, each literature circle group should produce a rich storyboard, which is essential for digital storytelling. Good storyboards display pictures and text, which lead each group into production (i.e. videotaping). This includes a timeline and side notes about voiceovers, close-ups, extreme long shots, freeze frames, desired special effects such as the ‘Ken Burns Effect’ (i.e. zooming and panning stills to add illusion of motion), and pace. Overall, the literature circle model can be an effective classroom management strategy for teachers and students alike organising the pre-production phase of digital storytelling, whilst encouraging teamwork and confidence that readies students to heartedly yelp "Roll-em!"

This article will appear in the forthcoming second edition of Coming of Age: An Introdction to the NEW Worldwide Web. Don't miss out on the developments concerning "Coming of Age..." the FREE book about using Web 2.0 tools in the classroom!

Mechelle De Craene loves being a special education teacher in Florida. She is also a MirandaNet Scholar researching child development and ICT (i.e.Cybernetic Developmental Theory) with the MirandaNet Academy. She has an undergraduate degree in psychology and a Masters Degree in Special Education with a Gifted Education endorsement.

Digital Storytelling 2.0

David Jakes

As he spoke my spirit climbed into the sky. I bid it to return to hear your wondrous stories.

Yes, November 30, 1981

The past several years have seen an explosion in the number of schools who are engaged in the process of digital storytelling. Many schools have initiated programs, and have had much success as indicated by the creative and dramatic stories that students have composed. However, like many learning technologies, it is logical to assume that the technology will evolve, and that this evolution should provide a new and more effective experience. With this in mind, can the process of digital storytelling become a more compelling learning experience for students? What’s next for digital storytelling in our schools? The answer-Digital Storytelling 2.0.

At the heart of a digital story is the composer’s message, transmitted through their voice. As educators, we teach students to tell stories and we teach them how to amplify their story and voice through the inclusion of technology and various multimedia elements. But in 2007, it’s not only about creating interesting and meaningful video, it’s about being able to create and distribute video. It’s about communication. It’s about taking advantage of the emergence of new media, new tools and new networks to produce and share video and in the process, teach students how to develop a competitive voice. In 2007, the medium is truly the message.

New Media Online photo-sharing networks such as Flickr (http://www.flickr.co) and Bubbleshare (http://www.bubbleshare.com) continue to expand at an astronomical rate. Flickr is currently expanding at a rate of one million photographs per day (425,356,653 images at the time of this writing) and should surpass ½ billion photographs by the time school recesses for the summer. Perhaps the most significant aspect of Flickr, beyond the enormous potential for acquiring photographic images, is the Creative Commons licensing feature that photographers can employ. Creative Commons (http://www.creativecommons.org) licensing enables a photographer to “stamp” their photography with a particular license, thereby providing potential users (students) with clear delineation about how the photography can be used by others. Savvy educators will use digital storytelling as a vehicle for teaching about online intellectual property rights. Expect the application of Creative Commons licensing to expand throughout the Web, as evidenced by the new Creative Commons search, which returns a variety of different types of information from a variety of resources which have Creative Commons licenses applied (http://search.creativecommons.org/).

But perhaps the most significant new media contribution to digital storytelling will most likely be done through the ubiquitous cell-phone. Cell phones can now take pictures and video, and the ability of the cell phone to capture media for digital storytelling projects will be one of the significant arguments for allowing cell phone use in schools. There are already storytelling competitions based on cell phone media (http://www.cellflixfestival.org/) and DST 2.0 programs in schools must recognize the power of this tool to produce media to tell student stories.

New Tools Schools traditionally use iMovie, Photostory 3, or some other commercially available software as their digital storytelling platform. In 2007, the Web browser is rapidly becoming the software (an alliance that is often referred to as “browserware”) and new tools have emerged that provide an online authoring environment for digital storytellers. These tools, such as Jumpcut (http://www.jumpcut.com), Toufee (http://www.toufee.com), Eyespot (http://www.eyespot.com/) and Digitalstoryteller (http://www.digitalstoryteller.org/) all provide the opportunity to build digital stories online. Mogopop (http://www.mogopop.com/) even enables users to create digital story content for distribution to iPods, and for PC users, software such as Imtoo (http://www.imtoo.com/) permits the conversion of Windows-based digital stories into formats compatible with the iPod. Digital stories can now be composed online, and when exported in the proper format, have the capability to become portable on-demand content for handheld devices.

The significance of digital storytelling browserware is that anyone can build a digital story from any Web-connected computer. Think of the implications of this statement in light of the $100 laptop initiative. Think of the stories that can and will be told, and then distributed to literally everyone through the new networks of the Web.

New Networks The emergence of video distribution sites such as YouTube (http://www.youtube.com) and Google Video provide a natural hosting and distribution system for student-created digital stories. Lee Gomes of the Wall Street Journal estimates that the people of the world have watched 9,305 years of YouTube video since its inception. Content can now be created by anyone, and distributed to everyone.

The most critical resource that the new video networks supply is an audience, hungry for content. For example, consider Dylan’s Couch, produced by a middle school student. Episode 8, which explores the mundane topic of his history teacher’s project assignment, has been viewed 1,028,783 times. Over 1 million times!

Schools are taking advantage of this, as they should. For example, Shanghai American School has their own YouTube channel for the posting and distribution of student-created content (http://www.youtube.com/profile?user=saschool). Such a capacity makes digital storytelling even more important-students should learn the proper methodology for creating visual messages so that they can enjoy a lifetime of productive contribution. And what happens to quality when students know they are posting for potentially a world-wide audience?

Two new video hosting sites, Revver (http://one.revver.com/revver) and Spymac (http://www.spymac.com ) not only accept video but also pay for it. The compensation models are slightly different, but it is now possible to make money by posting video. Revver’s emphasizes this by posting a catchy slogan on their Web site: “What if creativity could pay the rent?”

Schools that support digital storytelling programs provide students with a valuable life- long skill that provides a life-time opportunity to contribute. The importance and growth of video, which is likely to continue at a torrid pace, suggests strongly that schools that properly integrate video/digital storytelling programs will provide students with a competitive advantage. Those schools that successfully add new media, new tools, and utilize online networks for distribution to a world-wide audience will further extend that advantage.

I couldn’t quote you no Dickens, Shelley or Keats cause its all been said before. Make the best out of the bad just laugh it off You didn’t have to come here anyway. So remember, every picture tells a story don’t it…

Rod Stewart, 1971

Gomes, Lee (2006). Will all of us get our 15 minutes on a YouTube video? Wall Street Journal, Retrieved March 15, 2007, from http://tinyurl.com/fljc8

Eight Tips for Telling Your Story Digitally Page 1 of 3

Eight Tips for Telling Your Story Digitally Advice on planning, building, and promoting digital stories By: Brian Satterfield April 12, 2007

As a nonprofit, one of the ways you raise funds and attract attention to your cause is through the art of storytelling. Whether you recount the history of your organization to a donor, the life of someone you've helped in a grant proposal, or the challenges you face in a letter to supporters, storytelling is an everyday aspect of nonprofit life.

A well-told story can bring an invaluable sense of immediacy to your cause, especially important when you have just minutes (or even seconds) to capture the attention of your audience. Yet whereas nonprofits' storytelling arsenal was once largely limited to the traditional mechanisms of writing or speaking, new, affordable multimedia tools are making it possible to tell your story digitally, combining the power of images, narration, music, and text to engage and inspire others to action.

Good Tools, Best Practices

To help nonprofits learn more about this ever-growing medium, TechSoup recently held a two-day online event on digital storytelling hosted by Daniel Weinshenker and Andrea Spagat of the Center for Digital Storytelling (CDS), a Berkeley-based nonprofit that has trained organizations and individuals around the world in the art of digital storytelling for over 12 years. Here, nonprofits and storytelling experts came together to discuss good tools and best practices for creating a powerful and engaging digital story.

The following tips, gleaned from some of the conversations that took place during the event, can help you get started on making and sharing your own digital stories.

1. Use "The Seven Elements" to plan the story's script and content.

A digital story that moves viewers to action must be built upon a solid narrative and structure. To this end, CDS has identified seven important elements in crafting a compelling story. Examined in-depth in its downloadable Digital Storytelling Cookbook, we have briefly summarized these elements here. z Point of View. Telling your digital story from one perspective can help you decide which content to include and which to leave out. To determine your story's point of view, ask yourself what your story's message is, why it's important to tell it, and who your audience will be. z Dramatic Question. A dramatic question is posed by the narrator at the beginning of the story to create tension and draw in the audience. A dramatic question is usually not an actual question that the narrator poses; rather, it is an intriguing statement that causes the viewers to ask themselves a question. "'I was seven years old when I met my father' is an example of a dramatic question," said Spagat. "It hooks you in and motivates you to listen to the story until its conclusion." z Emotional Content. Stories that include incidences of loss, redemption, crisis, or change are key to keeping your audience engaged and interested. "[Emotional content] is what everybody can relate to and what makes stories so universal," said Spagat. She noted that it can be helpful to create a story about an experience that has already been resolved, as perspective plays an important role in being able to clearly examine your past emotions. z Voice. A good narrator can help give your digital story direction and personality and can make it more powerful than using text only. Weinshenker suggests adopting an informal tone when relating your story, as if you were talking with someone over a cup of coffee. z Soundtrack. Music can be a great way to establish mood and complement your overall message. Choose carefully, however: the wrong music can actually undermine your story. Instrumental music is often the best choice, as lyrics can interfere with your narration or contradict your message, notes the Digital Storytelling Cookbook. Yet no matter what music you include, make sure you keep it at an appropriate volume to avoid drowning out the narrator's voice. z Economy. Keeping your script brief (between 250 and 350 words) can help you decide what content to include. "Economy of words plays an essential role in making digital stories short and sweet and emotionally compelling," said Spagat. "It forces the writer to cut out all the extraneous stuff and focus only on the language that supports the central focus of the story." z Pacing. Just as a glacial pace can bore viewers, a rushed story can overwhelm them. To hold your audience's attention, strive for a happy medium; vary the amount of time that images stay on the screen, and use effects such as pan and zoom when appropriate.

http://www.techsoup.org/learningcenter/training/page6738.cfm 10/08/2007 Eight Tips for Telling Your Story Digitally Page 2 of 3

2. Build the story's visuals around the script and voiceover.

When crafting a digital story, let the script dictate which visuals you include, not the other way around. "In our model of digital storytelling," said Weinshenker, "the voiceover narrative leads the edit. That means that people write a story first and then think about what visuals complement that voiceover."

3. Focus on still images instead of video clips.

While you can certainly include video in your story, CDS emphasizes the use of still images, such as photos, slides, or flat artwork, over film.

Still images can be easier to work with than video, explained Weinshenker, especially if you lack video footage or are relatively new to technology. They also take up less memory, thereby reducing the risk of system crashes, and allow for greater flexibility.

"Still images are infinite files," Weinshenker said. "You can [display] an image for one second or 10 minutes, whereas video has a very specific beginning and end."

4. Respect copyright laws.

If you create a digital story using only your own content — including your own script, your own images, and your own music — you would have the legal right to publicly display and distribute it. Still, if you're using photographs of people in the story, it's probably a good idea to get the blessings of your subject matter.

Yet if you wish to include any material not created or owned by you, you must get the express permission of the copyright holder. This is especially important if you plan to post your story online or screen it to the public. (To learn more about when you need to ask permission and when you don't, read TechSoup's article Borrowing Images from the Web: An FAQ.)

What if you are short on your own materials, but lack the time to get permission to use others' work? Some artists and musicians have made their work available online for others to use freely. Freeplay Music, for example, provides nearly 2,000 downloadable music tracks (in MP3 and AAC formats) classified by genre, style, and mood. (Note that if you may be asked to pay a fee depending on how you plan to broadcast and distribute your creation.) TechSoup's article Where to Find Free Images and Visuals lists dozens of free online image libraries. Remember to check each site's licensing terms before you borrow, and always try to credit the artist as a professional courtesy.

5. Use free and low-cost software to keep production costs low.

To put together your digital story, you will probably need to have access to image- and audio-editing software, as well as an application to assemble the content. And while you may eventually want to purchase software to create more elaborate or high-profile digital stories, you may find it useful to know about several free tools available.

Free Audio Tools

Open-source application Audacity allows you to record voiceovers, though you will need a microphone to do so. Audacity also offers tools for trimming audio files and adding a number of different effects, such as echo, equalization, and cross fades.

Free and Low-Cost Image-Editing Tools

If you want to touch up the images you'll be adding to your story, Adobe Photoshop (available to qualifying organizations for $60 on TechSoup Stock) offers a wide array of high-end, professional image-editing tools. If your needs are more basic, GIMP, FastStone Image Viewer, and IrfanView are good free options.

Free Movie-Assembly Tools

When it comes time to assemble your digital story, you might want to take a look at Sophie, a program that allows you to combine images and audio into a video and annotate it with text. Alternatively, Windows XP users can download Microsoft's free Windows Movie Maker, which provides tools for recording and editing audio; compiling and editing images; adding captions, transitions, and effects; and assembling all the content into a video.

6. Keep your digital stories accessible.

Because most digital stories depend on a combination of visual and audio information, users who are blind or deaf may miss out on key elements of the story. Fortunately, there are a few things you can do to make your digital stories more accessible to everyone.

CDS modifies some of the digital stories it helps produce in order to ensure that users who are blind and deaf can

http://www.techsoup.org/learningcenter/training/page6738.cfm 10/08/2007