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Part II. Storytelling in the Information Age ] 79
text has been created. After considering the suggestions and finalizing the
text, the story is produced in digital form. In this phase, participants digitize
their images, read and record their narration, and edit the chosen images
and audio into video using editing software. All these activities are carried
out in consultation with the group leader and members. In the final stage,
the participants share the digital stories offline and/or online, discuss their
experiences and evaluate each others videos (Lambert, 2002/2013).
The above process is characterized by social, cooperative, and discursive
activities as well as individual and productive activities. Text writing and
the editing of images and video are facilitated by evaluative and critical peer
interactions which can be seen as a form of authorial collaboration. The
exchange of opinions and the reflections on each other's texts and images all
serve the purpose of making the digital story both relevant for the author as
well as interesting and authentic for the audience. The final product is the
digital story, which StoryCenter defines as a unique artifact 2-3 minutes in
length and illustrated with still images, accompanied by music, depicting
a temporal context, and featuring the writer’s own point of view (Lambert,
2002/2013). Ohler (2013) argues that in its expression DST is less focused
on the word digital and more on the word storytelling, as digital applications
and online interfaces are in the service of self-expression and/or content
management.
The revolutionary innovation of DST is that it enables anyone to produce
audiovisual content, previously was the privilege of professional filmmakers,
so that anyone can articulate first-hand life stories (Lambert, 2002/2013;
Lanszki, 2015a, 2017; Lanszki & Papp-Danka, 2017; Lanszki & Horvath, 2017).
StoryCenter has collaborated with thousands of public and non-governmental
organizations to organize workshops and introduce the process to thousands
of people worldwide. Since 1998, DST has appeared among the courses of
more than 100 higher education institutions in the US in the fields of teacher
education, journalism, communication theory and practice, IT and creative
writing. At the turn of the millennium the method has also spread to media
institutions on other continents: the BBC’s regional Welsh channel, led by
Daniel Meadows, has launched Capturing Wales, and the Australian Centre
for the Moving Image in Melbourne has also discovered the power of digital
stories. DST has grown into a genre of mass media, but with the web 2.0
turn, video-sharing portals have made it possible to publish digital stories
individually, independently of larger media institutions (Lanszki, 2016a).
By enabling users with no particular technological background to express
themselves through multimedia, DST has grown into a movement, thus
enabling people from different socio-economic and cultural backgrounds
and native languages to express themselves online. Numerous conferences"!
* These include the annual international traveling conference The Digital Storytelling Conference or
the annual Digital Storytelling Conference in Cardiff since 2003, organized by the BBC, while the Un/