Acknowledgements	5
	Contents	6
	Editors and Contributors	9
	List of Figures	11
	Chapter 1 Form and Content in Digital Storytelling	12
	What We Mean When We Talk About Digital Storytelling	14
	Practitioner Perspectives, Theoretical Positionings: And the Spaces in Between	16
	Part One: Practice	17
	Part Two: Content	18
	Part Three: Form	20
	Part Four: Understanding	22
	Concluding Thoughts	24
	References	26
	Part I Practice	29
	Chapter 2 The Central Role of Practice in Digital Storytelling	30
	An Open Source Social Change Technology	31
	The Evolution of New Practices	32
	Practice Along a Continuum	33
	Chapter 3 My Story from Kibera	36
	Arrival	36
	Programme	37
	Publicity and Communications	37
	Ndugu Mdogo Boys	38
	Premises and Equipment	38
	Day One	38
	Day Two	39
	Day Three	39
	Day Four	40
	Post-Production	41
	The Red Carpet Event	41
	Conclusions	42
	Chapter 4 One Million Life Stories	44
	Chapter 5 Collaborating with Other Artforms. History in Our Hands: A Long-Term Storytelling Project with Older People	49
	Chapter 6 Digital Storytelling in Multicultural Singapore	56
	Digital Storytelling Comes to Singapore	56
	A Nation-Sized Dream	57
	A Journey of Experimentation	57
	A Conversation on Public Space	58
	Collective Storytelling: Giving Voice to the Marginalised	59
	The Hero’s Journey: Helping Prison Inmates “Rehab, Renew, Restart”	59
	Storytelling for Businesses: Humanising the Workplace	60
	Scaling up Digital Storytelling	61
	Connecting Youth and Senior Citizens	61
	An Educator’s Insights	62
	Conclusion	62
	Chapter 7 Digital Storytelling with Users and Survivors of the UK Mental Health System	64
	Introduction	64
	Background	65
	Developing Our Process	65
	Dignity and Respect	66
	The First Workshop: November 2011	67
	What’s Changed?	71
	Working with Mental Health Service Users Is Different	71
	Conclusion	72
	References	73
	Part II Content	77
	Chapter 8 Digital Storytelling for Women’s Well-being in Turkey	78
	Story Workshops with Women	78
	Stories Women are Made Of	79
	Well-being Under Pressure: Women’s Coalition Digital Stories	81
	A Virtual Room for Oneself	86
	Conclusion: Coalition of Stories	88
	References	91
	Chapter 9 Going Beyond “the Moment”: Towards Making the “Preferably Unheard” Malaysian Sexual Minorities Heard	94
	Introduction	94
	The Power of Narratives	96
	Going “Beyond the Moment”: Two Case Studies from Malaysia	98
	Shaving	99
	Confessions of an Ex-Homophobe	100
	Conclusion	102
	References	104
	Chapter 10 The Afterlife of Capture Wales: Digital Stories and Their Listening Publics	108
	Capture Wales	109
	Listening in the Story Circle	112
	Wider Listening Publics for Capture Wales	115
	Legacies of Listening to Capture Wales	119
	References	121
	Chapter 11 The Ethics, Aesthetics and Practical Politics of Ownership in Co-creative Media	124
	IP “Best Practice” in Co-creative Media	125
	Digital Storytelling Best Practice and the Ethics of Ownership	128
	IP Management Practices and Issues	132
	Concluding Comments	135
	References	138
	Part III Form	141
	Chapter 12 From the Pre-story Space: A Proposal of a Story Weaving Method for Digital Storytelling	142
	Background and Objectives	142
	Photo Karuta	143
	Workshop Method	144
	Effectiveness of the Workshop Design	147
	Media Conte	148
	Basic Workshop Method	148
	The “Combining Photos into Stories” Game	150
	Interview Time with Sticky Notes	151
	Storytelling by Five Picture Cards	151
	Storyboard Productions and Editing	152
	Preview and Media Coverage	152
	Workshop Findings	152
	Problems	154
	Conclusion: The Story Generating Model from the Pre-story Space	154
	Note	155
	References	156
	Chapter 13 Exploring the Potential of Digital Stories as Tools for Advocacy	158
	Exploring the Use of Digital Storytelling as an Advocacy Tool	163
	Conclusions and Discussions	166
	References	167
	Chapter 14 Reconceptualising Digital Storytelling: Thinking Through Audiovisual Inquiry	169
	Introduction	169
	Embodying the Object	170
	Connecting DS to the Documentary Arts	174
	An Arena of Inquiry	176
	Conclusion	179
	References	182
	Part IV Understanding	185
	Chapter 15 Making Emotional and Social Significance: Digital Storytelling and the Cultivation of Creative Influence	186
	Unexpected Stories and Emotional Worlds	187
	Making Emotional Significance	192
	Re-making the Social	197
	Creative Influence and Social Engagement	201
	References	203
	Chapter 16 Smiling or Smiting?—Selves, States and Stories in the Constitution of Polities	204
	Smiling and Smiting	204
	Smiling Selves	207
	Smiting States	209
	Polities: Demes	212
	The Origins of Smiting	215
	The Growth of Knowledge	217
	Selfie State?	220
	Personal Stories—but What Is a Person?	220
	Scholarly Stories	221
	The GG Solution: “Foolishly Underrated”	222
	“Wake up Everybody”	224
	References	226
	Chapter 17 Therapy, Democracy and the Creative Practice of Digital Storytelling	229
	Introduction	229
	Discourses of Therapy and Democratisation are at the Heart of Digital Storytelling Practice	230
	Productive Tension between the Two Discourses Accounts for the Appeal of Digital Storytelling	235
	Limiting our Understanding of Digital Storytelling to Identifying Discourses of Therapy and Democracy is Reductive	236
	Conclusion: Creativity, Therapy and Democracy	237
	References	239
	Index	241