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78 | Digital Media and Storytelling in Higher Education (discussed in the next chapter) and scrolling, and it considers the way that content is consumed (i.e., the actions of the user who moves the mouse or their finger to uncover new parts of the visual interface). The user does not move between story elements by means of menu items and visualized buttons, but by moving up and down the screen using their finger or cursor.*? Such a media environment can be seen as a concise, mixed-media representation in which images, text, music, and multimedia elements can coexist (Sdwert & Riempp, 2019). Scrollytelling visualization provides the recipient with an experience of space and time. Like webtoons, scrollytelling narratives can be received at the reader's own pace, as scrolling allows the reader to control the speed or content consumption and to return to a particular detail. CHAPTER 6. DIGITAL STORYTELLING A digital story is a narrative created with the help of digital tools, but to describe it simply in terms of these two components is an oversimplification of the world of the moving image. Handler Miller (2004/2020) uses the term digital storytelling primarily to refer to nonlinear narrative types, as well as all fictional and non-fictional forms of narrative that are created through user interactivity on digital platforms. In her interpretation, digital storytelling encompasses a wide spectrum of open-ended narrative types, from interactive films to transmedia genres to virtual games. However, the term digital storytelling (hereinafter referred to as DST) actually refers to a process model of interpersonal interactions and individual creative activities that involves the use of digital tools and results in a video consisting of still images and a few minutes of narrative text spoken in the narrator's own voice (Lambert, 2002/2013; Ohler, 2013). The basic concept and the methodology of DST were developed by Joe Lambert and his colleagues at the Center for Digital Storytelling (now StoryCenter*’) in California in the early 1990s as a means of exploring the possibilities of community art. The group’s three-day workshops use digital technology to present and discuss life events in the form of a few-minute video narrative. The original description of the process is made up of three steps: finding the story, creation, and sharing. The first stage ’involves the Story Circle, which aims to help participants find their story and build a circle of trust through icebreaking, team-building and storytelling games. This is followed by text creation, the main criteria of which are conciseness, causality, and the tripartite structuring of the narrative. The group members read their story outlines to each other, which provides an opportunity for the participants to discuss whether a coherent, comprehensible and meaningful 3° https://thewaterweeat.com/ 4° https://www.storycenter.org/
