New Forms Of Storytelling Research Articles

When Storytelling Reframes Adultery: The Dramatics of Pirandello’s ‘La paura’

Pirandello's 'La paura' (1897) represents the unusual case of a short story that was inspired by an existing drama, L'epilogo (1892), and then successively retitled and staged (La morsa, 1910). An example of textual metamorphosis, the novella departs from the theatrical source largely because of its open ending. The narrative's central plot, however, still echoes that of the drama, as they both stress the themes of money, love, family, and morality. In La morsa Pirandello conforms to naturalist conventions in his portrait of Giulia, the protagonist, who becomes ensnared by her husband into admitting her infidelity and is driven to suicide. In 'La paura', on the other hand, the author breaks with contemporary narrative trends, though maintaining the popular leitmotif of the love triangle. The wife waits for her husband's return, dominated by the ambivalent feelings of disillusion and the hope of regaining normalcy. If La morsa conforms to naturalist bourgeois drama and castigates Giulia according to the social conventions of the era, in 'La paura' Pirandello focuses on the protagonist's introspection, portraying the wife as she strives for self-absolution. By changing the novella's title and turning the husband into a 'presence' that is only evoked by the other two characters, Pirandello depicts human feelings and relationships using a new form of storytelling. The recurrent and obsessive use of a 'visual poetics' translates shadows and suspicions into words.

Interactive TV narratives

This article is motivated by the question whether television should do more than simply offer interactive services alongside (and separately from) traditional linear programs, in the context of its dominance being seriously challenged and threatened by interactive forms of screen media entertainment. It suggests: yes. Interactive narrativity , that is, the ability to interact with (and influence) stories whilst they are being told, represents one clear development path for interactive television. The capabilities of computing technology are ripe for exploring this new form of storytelling, from creation to commercial distribution. The article starts by looking at the relationship between narrativity and interactivity in the current context of screen media, and identifies clear signs of interest from certain European public broadcasters in interactive TV narratives. It then presents in detail four recent experimental interactive TV productions in the genres of drama, news, and documentary, developed in collaboration with public broadcasters, which illustrate the potential and richness of this new form of storytelling, but also highlight new technological capabilities necessary for such productions. A number of essential technological requirements are then discussed in more detail in the final part. The article suggests that the ShapeShifting Media Technology, employed in the implementation of the four productions, has made significant advances both at the technological and the creative ends in supporting the development of interactive TV narrativity, but, however, that further developments are required before being able to answer questions such as “Would end users want such a form of screen media entertainment?” and “Would it be effective for both end users and producers?”

An Intersection of Ideals: Journalism, Profits, Technology and Convergence

Journalism needs advertising and advertising needs journalism: advertising pays for good reporting just as good reporting attracts customers for advertising. Problems arise when the equation becomes unbalanced, such as during the recessions in the early part of the twenty-first century. This paper asks the key question of whether editorial managers and journalists are embracing convergence at this time for business reasons or to do better journalism. It begins from the perspective that media organisations around the world are adopting various forms of convergence, and along the way embracing a range of business models. Several factors are influencing and driving the adoption of convergence - also known as multiple-platform publishing. Principal among them are the media's desire to reach as wide an audience as possible, consumers who want access to news in a variety of forms and times (news 24/7), and editorial managers' drive to cut costs. The availability of relatively cheap digital technology facilitates the convergence process. Many journalists believe that because that technology makes it relatively easy to convert and distribute any form of content into another, it is possible to produce new forms of storytelling and consequently do better journalism. This paper begins by defining convergence (as much as it is possible to do so) and describing the key competing models. It then considers the environments that lead to easy introduction of convergence, followed by the factors that hinder it. Examples of converged media around the world are provided, and suggestions offered on how to introduce convergence. The paper concludes that successful convergence satisfies the twin aims of good journalism and good business practices.

Better journalism or better profits?: A key convergence issue in an age of concentrated ownership

Convergence has become an accepted form of journalism at media organisations around the world. These organisations are adopting a range of business models to find ways to pay for these innovations. The main drivers behind this radical change in media production are the disruptive forces that these two drivers behind this radical change in media production are consumers' changing media habits, cheaper digital technology, and the disruptive forces that hese two drivers generate. Technology also maes possible new forms of storytelling, which potentially allows jounrlaists the chance to do better jounrlists through convergence. This article focuses on the key issue of whether editorial managers and journalists are embracing convergence to save money, or to do better journalism. It begins by defining convergence (while accepting the wide variety of definitions) and describing two main models of implementation. It then considers the factors that hinder its introduction. Examples are provided of converged media around the world. This article ends with a warning about the dangers for democracy of misapplied convergence in an era of increasing concentration of ownership.

Report from the Bay Area Video Coalition

The challenge of preserving video is a fundamental issue for the media arts field. Currently we are in danger of losing video art and experimental video created by the first makers. Video from the late 1960s and early 1970s documents culture, experiments with new forms of storytelling, and illuminates communities and issues often distorted or altogether ignored. While major broadcast institutions are preserving broadcast news events and such popular television as I Love Lucy, thousands of video documents are no longer viewable because they are outside the realm of mainstream television programming.