DCC Proposal: Challenging Single Medium Use in Storytelling

DCC Proposal: Challenging Single Medium Use in Storytelling

Alexander Yuan

ABSTRACT

This is a culmination of the ideas and topics covered from HDCC. Through analyzing the affordances and constraints of various mediums of storytelling, this project will test the potential of multiple-medium storytelling in the face of traditional, single-medium storytelling. With the recent success of transmedia narratives that use different media across different projects to enhance the audience’s understanding of the world in which the story occurs, one must wonder the possibilities of multiple medium use within one story. In writing the narrative to include smooth transitions between medium, each scene can be best suited to the medium that encompasses the emotion and can be possibly created (some shots can only be realized thorough creative means). This project aims to experiment with the filmmaking process, and provide a meaningful product that can be used to help the betterment of animals and their owners in the adoption process.

INTRODUCTION

Storytelling is an ancient form of entertainment that perpetuates ideals and legacies. While storytelling has taken many forms over the course of history, it has predominantly remained confined to one medium at a time. Beginning with the advent of writing, people began recording stories. As time continued and technology advanced, digital storytelling became a viable option. In this capstone, I will investigate the challenges and complexities of a new version of “transmedia storytelling”, altering the definition of transmedia storytelling to creating a digital story through the use of several mediums within one work. There exist tremendous affordances and constraints to each form of storytelling used, and I strongly believe that the utilization of multiple in one work, would enhance the project overall. Different forms of digital story creation including film, animation, etc., are all better suited to different scene requirements, and therefore when used in conjunction can create something greater. In terms of the basis for the plot of this narrative, it will highlight a large problem I have encountered while working with the adoption process of animals, specifically dogs. In this way, a meaningful story can be told to the fullest by the combined advantages of several forms of digital story creation.

PROJECT DESCRIPTION

For this project I intend to use at least three story-creating sources including animation, Claymation, and film (This may be ambitious, but for the time being I would like to try to include more than these three sources). For this project, I want the medium to speak to the tone and realism of the scenes at hand. Initially, I want to start the narrative in animation and transition to/between Claymation. The important part comes toward the ending of the story, where the moral is realized and taken out of the “ideal” animated world and brought to reality in actual live filming. In terms of the development of the story I plan to begin with a story board in which I complete blocking for animation, which can later be converted into breakdowns for implementation in the story. After the animation is complete, with full breakdowns and in-betweens, and Claymation/ other forms have been implemented, the live filming will be done to close out the story. In this project, I think the use of other forms of story creation will be imperative to the completion of this project, because there are some envisioned scenes that I don’t believe I could feasibly film(and therefore would have to be created digitally); however the use of realism from film will aid in the impact the message holds. The plot for this story will follow the life of a rescued dog, in hopes to give the audience insight into the negative aspects of adoption, but ultimately showing that a little work and patience will lead to a better life for the dog and especially the owner. Depending on time, and amount of work finished based on the proposed schedule, I will attempt to integrate a user interface where the medium can switch from one form to another at some points within the story. One big challenge I foresee is the notion that switching from one medium to another could be jarring and mess with the narrative flow. To combat this, I plan to really focus on the writing of the narrative to make places where transitions could occur and not confuse or surprise the audience.

HISTORY

Throughout history, storytelling has mainly been confined to one medium. This is likely a trend as a result of people feeling that shifting mediums is too jarring and disrupting to the narrative flow. However, as time passed and technology became more advanced, the possibility of multimedia narratives and storytelling became possible. A case study followed an adult and a child who used multiple media and modes to describe their lives and specific moments that changed the course of the rest of their lives. In this case study, it was determined that the use of multiple media directly correlated to a better from of self-expression and authorial agency. The case study worked well to exhibit a large advantage of multi-media storytelling. With a wider range of options to tell their stories, the two subjects overall found a better sense of “giving voice to agentive selves” (Hull). Technology has provided an easy way to integrate multiple media into one piece, which has proven to improve the method stories are told and received, overall.

On a somewhat similar note, I believe that transmedia storytelling could have the same effect. Transmedia storytelling as defined by Annette Lamb involves components of a story being told through different media, and each of the media providing a uniquely important contribution to the story. Unlike multi-media narratives, I feel that transmedia storytelling has distinct transitions from one form into another within one piece. Innately in existing in distinct components, the mediums are given a greater opportunity to provide a new perspective and set of affordances to the overall story. An example of transmedia storytelling from my childhood was Skeleton Creek, which is a horror based transmedia storytelling experience from the perspective of a teenage boy recovering from an incident. The majority of the story exists in text form, however periodically the reader will encounter passwords in the book that could be used online to access video clips which enhanced the story through realism. When reading this story as a child I remember being captivated by the realism, and excited to continue reading through the story to find more passwords and uncover the mystery. This novel was a large success in my eyes and gave me early insight into the possibilities that transmedia storytelling had. Transitioning into the HDCC208 class, we continued to discuss the potential of transmedia storytelling in the forms of taking a story and turning it into other works existing in the same universe but through different medium. For example, reading The Martian in text form, and seeing it realized as a movie and later an interactive phone app.

In several academic articles there was discussion of “media-conscious narratology” (Bitenc and Howard). This idea of there being an awareness of the narrative with regard to the media being used is extremely interesting. It was described that the “choice of medium makes a difference as to what stories can be told, how they are told, and why they are told” (Bitenc). Media-conscious narratology clearly defines a constraint on single medium storytelling. Failing to realize the affordance of utilizing different forms of media to tell a story greatly inhibits the potential of a story.

SIGNIFICANCE AND DISTINCTION

In the history section, I discussed transmedia storytelling and its importance in evolving a universe in which a story takes place. However, my capstone is unlike traditional transmedia storytelling, because I will be experimenting with the implementation of several of the different mediums in which stories could exist all in one narrative. Most examples of transmedia storytelling like The Martian, which was analyzed in the HDCC208, involve transmedia through having several, separate projects, each utilizing a different medium. This capstone however will tell a story through the various mediums, but all integrated into one project. By doing this I believe I can cater to the needs of each scene with the medium that best suits it, taking advantage of the affordances and constraints innately within each respectively. This serves as a culmination of DCC, because it is a creative, digital project that requires well thought out organization and “misuse” of different forms of storytelling to create one final product involving them all. Additionally, this project would be a direct implementation of topics covered in the digital storytelling class, as well as using skills and software learned from the class.

During research, I did come across several works that implemented animation with film including Who Framed Rodger Rabbit?, Monty Python and the Holy Grail, and Space Jam. While these films do integrate live action with animation, which is a part of what I plan to do, the capstone will aim to integrate more mediums within the work. Additionally, the movies listed work on the premise that cartoon characters and people exist in the same world and can interact as so. In this capstone, the different mediums will be separate and work with one another to become realized into a multi-faceted final product. The use of different mediums will permit different perspectives and thoughts about the topic at hand, keeping the reader interested and the content relevant. This capstone will serve to see if certain forms of story creation can elicit different responses from the audience solely based on medium used to convey the subject matter. Another difference dependent on time is the implementation of user interactivity to change the medium of the story for some scenes.

EXPERTISE AND SKILLS

For this project I will need to be able to effectively utilize software including adobe premiere and Adobe Animate cc as well as work with photography, film equipment. I will use premiere to edit the entire video together, and will use Animate cc to do the animation by hand. I will need photography to complete stills of the Claymation and video recording for the film component.

APPROACH (aka “methods”)

In order to complete this capstone, I will need to learn Animate cc, which I have little experience in, but am confident in my capability to become proficient through tutorials online. This project is a blend of several art forms, and will therefore take several art-based approaches to this project. Additionally, beforehand I plan to do a lot of storyboarding, sketching, and blocking to ensure that all of the scenes can be created and transitioned between smoothly.

WORK PLAN AND TIMELINE (no required word count - based upon project needs)

IDEAL SCHEDULE:

AUDIENCE

This project is made for those who are interested in: filmmaking, animated shorts, and the arts. Since this project challenges traditional medium use for filmmakers, it could be an interesting project for other filmmakers to analyze and work from. Additionally, the subject matter lends itself to those interested in animal adoption and animal treatment. This project would align with the efforts of many organizations and rescue groups attempting to find dogs permanent homes. Above all, this project is for anyone who is interested, and is all-inclusive.

BUDGET

I have access to all of the software required, and have most of the camera gear required to shoot the live footage and get the stills for Claymation. The components requiring money are:

Claymation materials: $30

Stylus for animation: $20

Total budget: $50

OUTCOMES

Ideally, I will have finished the entire story by the end of the semester, but in the case I don’t I will continue working on it until it is finished. I have worked closely in the past with several adoption agencies and rescue groups that may be interested in using a film of this sort to help those understand that not everything is perfect immediately following adoption and that animals are often in a state of shock and take time before they can fully recover and act their true personalities. In this case, I could continue to work with them to edit this project and make new animations and films in the future for their organizations. Additionally, filmmaking is my main hobby currently, and I have always been interested in giving animation and other forms of art based storytelling a try. I have a strong passion for the subject matter and am interested in the process/ creation of films and believe this will be an amazing opportunity to take a creative risk in an area I’m interested.

BIBLIOGRAPHY

You will need to include a minimum of 10 sources with at least 5 of these being academic publications.

* For collaborative projects each team member will submit separately. Content may overlap but should vary by specific role. At least 2 of the required academic publications must be different for each individual.

Barnes, Susan B. “Technology and Culture.” Technology and Culture, vol. 46, no. 2, 2005, pp. 434–436.

Bitenc, Rebecca A. “Review.” Style, vol. 49, no. 3, 2015, pp. 386–393.

“How to Create 2D Animation Using Animate CC.” How to Create 2D Animation Using Animate CC. Adobe Systems Incorporated, n.d. Web. 15 Nov. 2016.

Howard, Christian. “Review.” Style, vol. 49, no. 4, 2015, pp. 542–544.

Hull, Glynda A., and Mira-Lisa Katz. “Crafting an Agentive Self: Case Studies of Digital Storytelling.” Research in the Teaching of English, vol. 41, no. 1, 2006, pp. 43–81.

Lamb, Annette. “Divergent Convergence: Learning in a Transmedia, Multiplatform World.” Divergent Convergence: Learning in a Transmedia, Multiplatform World. Eduscapes, n.d. Web. 15 Nov. 2016.

Moore, Rose. “The 12 Best Movies To Combine Live Action and Animation.” Screen Rant. N.p., 18 May 2016. Web. 16 Nov. 2016

Ritter-Guth, Beth. “How to Create a Claymation or Stop-motion Video.” MakeUseOf. N.p., 12 Apr. 2010. Web. 16 Nov. 2016.

Wendig, Chuck. “25 Things You Should Know About Transmedia Storytelling.” Terribleminds: Chuck Wendig. N.p., 16 Apr. 2012. Web. 15 Nov. 2016.

Yan Xu et al. “A New Approach Toward Digital Storytelling: An Activity Focused on Writing Self-Efficacy in a Virtual Learning Environment.” Journal of Educational Technology &Amp; Society, vol. 14, no. 4, 2011, pp. 181–191.

Lamb, Annette. “Divergent Convergence: Learning in a Transmedia, Multiplatform World.” Divergent Convergence: Learning in a Transmedia, Multiplatform World. Eduscapes, n.d. Web. 15 Nov. 2016.

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