Storytelling Strategies Research Articles

Action Research on Improving Students' Speaking Proficiency in Using Cooperative Storytelling Strategy

Speaking is the first way to interact with others in the social community. Furthermore, the success in learning a language at first can be seen from the ability of the learner’s speaking. However, it is very hard for the second language learners to speak the foreign language, especially English. There are a lot of reasons why they get difficulties in speaking, such as lack of ideas to tell, lack of vocabularies to express the ideas, lack of the exposure to speak, and lack of the interesting teaching method or technique that can motivate them to speak. Thus, this research applied Cooperative Storytelling Strategy to Improve Students' Speaking proficiency of the students of grade 11in Nepal Rastriya Chandraganga Secondary School, Gagretal, Surkhet. This research was a collaborative classroom action research whose main purpose was to know whether or not storytelling strategy could improve the students’ speaking skill. Meanwhile, the specific purposes consisted of describing: (1) To implement storytelling strategy in 11th graders students at our School to improve their speaking skill. (2)To enhance their confidence in speaking skill and create fluency in speaking. The data of this research were got from the observations done by Story telling contest and Speaking test. The result showed that there was an improvement on students’ speaking proficiency after the implementation of storytelling strategy. The speaking test result in cycle two explained that the students’ speaking aspects got good progress. Storytelling improved their comprehension, fluency, vocabulary, grammar, and pronunciation. Thus, it can be said that storytelling strategy could improve students’ speaking skill.Journal of NELTA Surkhet, Vol. 5 January, 2018, Page: 97-105

How Brazilian Whovians influenced BBC's strategies through Twitter: Fifty years of "Doctor Who" and fan engagement

Doctor Who (1963–89, 1996, 2005–) is a remarkable example of how storytelling and marketing strategies can be assembled. Its fiftieth anniversary special was broadcast simultaneously in 2013 in ninety-three countries on TV (with a peak audience of 10.6 million on BBC One alone) and was also screened in more than 1,500 movie theaters after fan mobilization on Twitter. We show how this fan mobilization influenced the BBC's strategy to broadcast the special in Brazilian territory.

From One Medium to the Next: How Comic Books Create Richer Storylines

From One Medium to the Next: How Comic Books Create Richer Storylines

Six-step method for healthcare social media storytelling

Healthcare organisations can strike a balance between achieving business goals and sharing audience-relevant stories by implementing social media storytelling. When executed properly, this six-step storytelling strategy will improve patient acquisition and retention over time and solidify the organisation’s reputation as a thought leader and expert. This paper outlines strategies to create meaningful connections with social media audiences by sharing educational, entertaining and relevant stories. The social media landscape is constantly changing, much like the informational needs and wants of a brand’s target audiences at any given time. To harness the full communication potential of social media platforms, organisations must share unique, authentic stories that grab and keep people’s interest while providing solutions to their problems and answering their questions. This six-step strategy to social media storytelling can help marketers create relevant and engaging content and publish more quickly.

A “Charm” of Storytelling : Henry James’s The Turn of the Screw

This study explores Henry James’s “charming job” in his novella gem, The Turn of the Screw in connection with frequently used words, “charm” and “charming” in the text. These words are used to describe characters’ feelings and thoughts about people (appearances and behaviors) and things (summer, stillness, news) in the novella. As the two “charming” children and their governess’s “charming” work cast a spell (“charm”) on her, James’s storytelling gets hold of readers “sufficiently breathless” like Douglas does with his audience. This research focuses on the two prevalent storytelling strategies that achieve the effects of triggering curiosity and building up suspense: storytelling delay and dramatic dialogues. These are James’s ingenuity that provides a ghastly atmosphere for the ghost story genre, which contributes to a great readership of the story in English literature over different generations via different media as well−movies, theatrical dramas and opera.

The Utility of Storytelling Strategies in the Biology Classroom

Conveying scientific information with high intrinsic cognitive load to students is a challenge. Often, students do not have the existing schema to incorporate the information in a comprehensive manner. One method that has shown promise is storytelling. Storytelling has been successfully used to convey public health information to non-experts. Therefore, it was of interest to determine whether storytelling could be used in the classroom to present information with high intrinsic load to students in a meaningful manner. This study used a post-test only quasi-experimental study design to explore the utility of storytelling as an instructional strategy in anatomy and physiology classes at a community college. Students in the treatment group received instruction that used storytelling to present examples of application. Both control and experimental groups were assessed through the use of a proximal formative quiz, distal multiple-choice questions, and a novel critical thinking exercise administered after the instruction. Results suggest that storytelling was as effective as the instructional methods delivered to the control group. These findings suggest that storytelling may be used as a means to convey complex scientific information in the classroom.

Hamlet by William Shakespeare, and: Saint Joan by George Bernard Shaw

Reviewed by: Hamletby William Shakespeare, and: Saint Joanby George Bernard Shaw Rachel Evans HAMLET. By William Shakespeare. Directed by Eric Tucker. McCarter Theatre Center, Berlind Theatre, Princeton, New Jersey: 01 28, 2017. SAINT JOAN. By George Bernard Shaw. Directed by Eric Tucker. McCarter Theatre Center, Berlind Theatre, Princeton, New Jersey: 01 28, 2017. Although Emily Mann, artistic director of the McCarter Theatre Center, had the New York–based Bedlam Theatre on her radar for several years before giving them in-residence status in New Jersey, audiences in Texas, Massachusetts, and Maryland had already been introduced to the company's work. In fact, starting in 2012, Bedlam's productions of Saint Joanand Hamletwere subcontracted to, co-produced by, and/or sponsored at resident theatre companies multiple times before occupying a valuable slot in the McCarter's 2016–17 season. By choosing to present Bedlam's Saint Joanand Hamletin repertory, Mann made equal commitments to both shows, expecting each to possess enough artistic merit to stand on its own, as well as having an engaging cohesion when considered in tandem. What may have been underestimated was the creative endurance and aesthetic stamina needed to support what amounted to six hours of stage time. Bedlam's artistic director Eric Tucker directed both offerings, proclaiming that he and his artistic team could tackle such iconic classics despite the heavy baggage of weighty expectations. While [End Page 92]more traditional repertory theatre ensembles might have used multiple productions to highlight actors' strengths, Bedlam's repertory only used four performers. This meant that there was plenty of stage time to go around; each actor played both leading and supporting roles in both productions. It was notable that Tucker served as one-fourth of the rep's performers, casting himself as Hamlet and an array of Joan's men. Andrus Nichols, who co-founded Bedlam with Tucker and previously served as the company's producing director, was another fourth of the cast, playing Joan, Ophelia, Gertrude, and a few of Hamlet's male characters, as needed. That left two others to undertake the remaining roles: Edmund Lewis and Tom O'Keefe. Together, this foursome revealed Bedlam's values through consistent use of certain storytelling strategies. One of the dominant characteristics was the flexible spatial relationship between actors and audience. A fourth wall was never established; instead, deconstructing the onstage/offstage areas produced a raw, accessible, and visible theatricality. The number of intermissions in the rep tallied four. During them, seating areas were reconfigured, granting viewers multiple intimate perspectives from which to experience Shaw and Shakespeare. With such closeness, Bedlam relied upon audience members to read-in lines of incidental characters (like Claudius's messengers sent to Norway), to stand-in as furniture (using an audience member's head as the table for Hamlet's fifth-act goblet), and to be the brunt of jokes (with their Joan-like garb-of-poverty pointed out). Tucker, Nichols, Lewis, and O'Keefe possessed a deep dramaturgical understanding of the plays' mechanisms. Their comprehensive study in rehearsal led to discoveries of oft-overlooked clues for nuance, textual richness, and humor. The result was that meaningful dualities were often held in contrast to each other, whether that be extreme darkness versus full light in Les Dickert's lighting design or close proximity versus distance in staging decisions. With the exception of the two titular characters and few others, no one Bedlam performer owned a role; many were shared by at least two actors. Correspondingly, any clarity of character was undercut with intentionally questionable terms of identity. The undoing of certain conventions created the Bedlamic antidote to tradition: playing spaces in, among, and across the audience; a minimalistic world of the play; and a general relaxed ease sans artifice in performance and production. This made director Tucker's unclouded delineation of Shaw's account of the Maid of Orleans all the more important, from the first scene's miracle of the eggs to the epilogue's canonization. In-between, there were heady debates and wordy passages. The production made good use of Nichols's ability to chart the course of Joan's outward and internal growth. In...

Digital advertising storytelling: consumer educommunication

This is a revision of the concept of digital storytelling to get a definition from a point of view of consumer educommunication. This is how new digital advertising storytelling can modify consumer roles and behaviors. So, in this text, we do a literature revision to explain the advantages of storytelling for digital marketing, the main common mistakes in digital advertising storytelling and what should a good storytelling strategy include. Besides, we make a description about media you have to use, the demand and growth of visual content and other digital marketing Trends for next years.

패션 비주얼머천다이징의 스토리텔링 전략과 유형 연구 - 쇼 윈도우를 중심으로 -

본 연구는 다양한 분야에서 소비자와의 감성 커뮤니케이션 전략으로 많이 활용되고 있는 스토리텔링을패션 비주얼머천다이징에 적용하여 마케팅 관점에서의 전략적 VM 유형을 도출해 보고자 진행되었다. 연구방법으로는 우선 VM과 연관성 있는 분야의 스토리텔링 활용 선행연구들을 종합적으로 분석하여 패션 VM의전략과 유형을 도출하고, 전문가 집단을 통해 쇼 윈도우를 중심으로 실질적인 사례조사를 시행하였다. 연구결과, 패션 VM의 스토리텔링 유형은 ‘사실기반형 스토리텔링’, ‘수정가공형 스토리텔링’, ‘창작형 스토리텔링’의 3가지 유형으로 분류되었다. 첫 번째 유형인 ‘사실기반형 스토리텔링’은 상품의 특성이나 일반적인 상황을 그대로 적용하여 현실적인 연출을 통해 구매로 연결시키는 유형으로 상품의 특성을 강조하여 사실적으로 연출하거나 브랜드 로고나 고유패턴, 슬로건 등을 활용한 상징적인 연출로 구성된다. 두 번째 유형은 ‘수정가공형 스토리텔링’으로 상품에 다양한 상황이나 공감대 형성을 위해 감각적인 구성을 더해 소비자의 구매 심리를 직접 자극하여 상품에 가치를 더하는 분위기적 연출과 상품의 의도적인 기대치, 용도, 효과 및동향 등을 표현함으로써 고객을 위한 라이프스타일을 제안하는 정보적 연출로 표현된다. 마지막 유형인 ‘창작형 스토리텔링’은 재미와 흥미 중심의 상상적 연출과 특별한 스타일에 얽매이지 않고 극적인 느낌을 표현함으로써 소비자의 욕망과 상상의 세계를 구매하도록 유도하는 초현실적 연출로 표현된다. 본 연구를 통해패션 VM은 스토리텔링 개념을 적용해 전략화 할 수 있으며, 마케팅적 관점에서의 유형은 3가지로 분류해볼 수 있고, 사례조사를 통해 각 유형은 다양한 표현기법을 통해 나타나고 있음을 알 수 있었다. 또한 한가지 유형이 브랜드에 일률적으로 적용되는 것이 아니라 브랜드의 상황과 전략, 상품의 콘셉트와 테마, 트렌드 등에 따라 적절한 유형과 연출기법을 통해 브랜드 및 상품의 특징을 시각적으로 이야기하고 있음을 확인할 수 있었다.

Conspiracy, Procedure, Continuity: ReopeningThe X-Files

This article examines how the 2016 X-Files revival restages the storytelling strategies that defined the show’s original run within the framework of the six-episodes-long event season. It argues that the 2016 iteration of the program adopts the alternation between procedural “Monster-of-the-Week” episodes, parodistic installments, and entries that advance an ongoing conspiracy plot for its own purposes. More specifically, the article suggests that the revival abandons the original series’ emphasis on long-term audience engagement in favor of a retrospective outlook that serves to legitimate the revival’s status as a worthy continuation of the original run—and that this shift is informed by its status as an event series. In doing so, the revival resurrects a mode of television storytelling informed by the demands of television’s multichannel era. To make this argument, the article discusses the storytelling strategies of The X-Files’ original run, and examines their implementation in the revival series.

A Diletto And His Storytellig Strategy

The strategy of involving consumers and prospects through tales or stories in advertising, known as storytelling, has been widely used by organizations and well accepted by the general public. One of the companies that bet on this format was the brazillian ice cream and popsicle maker, the Diletto brand. However, the strategy of storytelling used by the organization had a negative repercussion, because the story told was not exactly the real story about the beginning of the company. Thus, this article intends to identify the true reasons that made Diletto's strategy detrimental to the brand. To that end, the paper tackled how a non-assertive storytelling strategy can compromise the organization's image. The research identified, through data collection research and the theoretical basis of authors who are specialists in the subject, the factors that led to the failure of the strategy and why the negative repercussion involving the brand, after the true story became public knowledge.

서사무가에 나타난 차사형 인물의 콘텐츠 활용 양상과 스토리텔링 전략

서사무가에 나타난 차사형 인물의 콘텐츠 활용 양상과 스토리텔링 전략

감성리더십 교육 프로그램에서 스토리텔링 전략 활용의 효과: 학습자의 경험을 중심으로

감성리더십 교육 프로그램에서 스토리텔링 전략 활용의 효과: 학습자의 경험을 중심으로

서사전환과 대중성 강화 전략 연구(Ⅱ)

서사전환과 대중성 강화 전략 연구(Ⅱ)

서사무가의 콘텐츠 활용 유형과 스토리텔링 양상

서사무가의 콘텐츠 활용 유형과 스토리텔링 양상

A Study on the Strategy of Utilization of Transmedia Storytelling in Popular Music - Focused on the Successful Case of Transmedia Storytelling in Popular Music Abroad

본 논문은 대중음악의 트랜스미디어 활용 전략에 관한 탐색적 연구이다. 본 연구에서는 트랜스미디어 스토리텔링 전략에 기반을 둔 대중음악 사례들의 특성과 내용을 분석하여 음악 산업에서 활용 가능한 제작 및 마케팅 전략 방안을 마련하는데 목적이 있다. 최근 음악산업은 소비패턴에 있어 디지털음악 매체로의 전환과 스마트 미디어 시대로의 급속한 환경변화에 따른 다양한 수익 모델이 모색되고 있다. 따라서 음악 산업에서 아티스트의 음악과 스타시스템, 또는 팬덤을 기반으로 하는 거점 콘텐츠로의 시장 확장은 최근 문화 콘텐츠 산업에서 화두가 되고 있는 트랜스미디어 스토리텔링 전략 사례들에 주목할 필요가 있다. 본 연구에서는 해외 음악시장에서 성공적인 사례로 평가 받았던 영국의 가상밴드 <고릴라즈>와 미국의 힙합아티스트 <제이-지의 자서전 Decoded>의 제작 및 마케팅 활용 사례를 살펴봄으로써, 음악 산업 전반에서 새롭게 활용 가능한 트랜스미디어 스토리텔링 전략 방안에 대해 살펴보고자 하였다.This paper is the exploratory study on strategy of utilization of transmedia in popular music. The purpose of this study is to prepare available marketing strategies of popular music by analyzing the cases and contents of cases of the popular music based on transmedia storytelling strategies. Recently, the music industry has been re-organized focusing on the source of digital music and various business models are found according to the rapid change into the era of smart media. Therefore, the market expansion as a key contents based on the artists’music and star system in music industry is need to be focused in terms of transmedia storytelling strategies which have become hot issue in the industry of culture contents. In this research, the available transmedia storytelling strategies in Korean music industry have been stated focusing on the British virtual band <Gorillaz> and the American hiphop artist <Jay-Z’s autobiography, Decoded>.

Blending in and standing out: Storytelling and genre in the LGBT biopics Milk and Pedro

Abstract This article considers the deployment of self-reflexive storytelling strategies by the titular protagonists in the LGBT biopics Milk (Van Sant, 2008) and Pedro (Oceano, 2008). Written by Dustin Lance Black, both films utilize the formal and narrative conventions as well as the historiographic features of the biopic genre to legitimize its subjects in contemporary culture. Furthermore, Harvey Milk and Pedro Zamora foreground the practice and political utility of storytelling as they assert control over their tragic yet ultimately hopeful legacies. Through a textual analysis of the films, the article examines how the films intersect with the LGBT biopic as a subgenre of the contemporary biographical film and as popular queer history.

심청전에 대한 현대적 상상력과 스토리텔링 전략 ‒ 영화 마담 뺑덕(2014)을 대상으로

심청전에 대한 현대적 상상력과 스토리텔링 전략 ‒ 영화 마담 뺑덕(2014)을 대상으로

Transmedia Storytelling Initiatives in Brazilian Media

This paper is presented in order to understand the evolution of media dynamics in Brazil and investigate its perspectives for the future. Brazil, among the BRICS states (Brazil, Russia, India, China and South Africa), will be our focus. From a mono-mediatic paradigm to a convergent one, Brazil is developing new practices in fictional and non-fictional media. Our hypothesis is that the transmedia storytelling strategy is both the reality – although still timid – and the most probable future scenario for media development in Brazil. We can assert that transmedia storytelling is a tendency. Therefore, we will explore examples of transmedia storytelling initiatives in Brazilian media mainly related to journalism, entertainment, branding and advertisement.

Storytelling and meal experience concepts

ABSTRACTThe aim of this study is to explore how storytelling with local and regional origin can be used to develop meal experience concepts in restaurants. Focus is on Nordic food from the perspective of the experience economy. The first goal is to analyse the transformation of menus into experience concepts and dining areas into experiencescapes. The second goal is to investigate if storytelling activities in restaurants can lead to destination development. It is also reflected upon if meal experience storytelling in restaurants has implications for consumers’ everyday food consumption. Three cases in Sweden and Norway with different storytelling strategies are selected. In all these cases, the stories are unique, the places are linked to the stories and the personnel take part in the storytelling activities. The stories are easy to communicate and easy for the target group to connect to. The menus are linked to the story and are all based on local Nordic food culture and local food products. The menus are set and offered in experiencescapes that in various ways fit the stories. The concepts have contributed to the destinations with more visitors, more collaboration among businesses and increased media attention.