Narrative Video Research Articles

Adolescents’ Remembering of Sexual Television Narratives and Their Relations with Positive Sexuality Components: A Biographic Resonance Perspective

ABSTRACT Little to no knowledge exists about television’s role in the sexual socialization of adolescents from the perspective of remembrance and resonance of narratives dealing with sexuality. The current study aims to fill this gap in the literature by using three-wave data of 703 respondents (51.5% assigned female at birth, M age = 15.44; SD = 1.43). We explored reciprocal relations between adolescents’ remembrance of resonating positive and negative messages included in sexual narratives on television and their positive sexuality components (e.g. sexual self-acceptance). Structural equation modeling showed that a respectful approach to different sexual expressions was related to the remembering of negative sexual television messages five months later. No other significant relations were found. Further, no differences were found based on adolescents’ sexual experiences. The findings are discussed in the realm of the potential of using the biographic resonance theory (BRT) of eudaimonic entertainment media to further explore the socializing potential of sexual television narratives.

‘From there everything changed’: conversion narrative in the biomimicry movement

ABSTRACT An increasingly influential approach to solving human ecological problems is an innovative design practice known as biomimicry. The Biomimicry Institute, a major stakeholder in the Biomimicry Movement, promotes biomimicry as a practice that mimics nature’s genius to solve human challenges and provides hope of sustainable futures. Despite increasing global interest in the practice, so far little is known about the value placed on biomimicry within practitioner communities. Employing a corpus-assisted discourse-analytic approach, this paper explores the ways video narratives shared by practitioners affiliated with and curated by the Biomimicry Institute position biomimicry as a sacred practice. Drawing on Stibbe’s ecolinguistic approach and Hobbs’ functional religious language framework, we observe an overarching discursive pattern of conversion narrative (incorporating both personal and collective storylines) which highlights the sacred significance of the movement. We explore how the linguistic strategies underlying these conversion narratives centre human experience, mark group identity and attract new converts, while constructing an ecologically ambivalent discourse. In particular, we find that use of vague language obscures the precise nature of involvement in the movement and blurs the lines between member and non-member, contributing to the conversion narratives’ potential as powerful proselytising tools.

Transient Elastography and Video Recovery Narrative Access to Support Recovery From Alcohol Misuse: Development of a Novel Intervention for Use in Community Alcohol Treatment Services.

Mortality from alcohol-related liver disease has risen significantly for 3 decades. Transient elastography (TE) is a noninvasive test providing a numerical marker of liver disease. Preliminary evidence suggests that TE can reduce alcohol consumption. The KLIFAD (does knowledge of liver fibrosis affect high-risk drinking behavior?) study has developed a complex intervention wherein people receiving alcohol treatment are provided with access to TE, accompanied by scripted feedback tailored to their disease state, and access to video narratives describing alcohol misuse recovery after receiving TE. Recovery narratives are included due to preliminary evidence from mental health studies which suggest that access to digital narratives describing recovery from mental health problems can help people affected by mental health problems, including through mechanisms with the potential to be transferable to an alcohol treatment setting, for example, by increasing hope for the future, enabling learning from the experience of others, or promoting help-seeking behaviors. We aimed to develop the KLIFAD intervention to the point that it could be delivered in a feasibility trial and to produce knowledge relevant to clinicians and researchers developing interventions making use of biomarkers of disease. In research activity 1, standardized scripted feedback was developed by this study, and then iterated through focus groups with people who had experienced alcohol misuse and TE, and key alcohol workers with experience in delivering TE. We report critical design considerations identified through focus groups, in the form of sensitizing concepts. In research activity 2, a video production guide was coproduced to help produce impactful video-based recovery narratives, and a patient and public involvement (PPI) panel was consulted for recommendations on how best to integrate recovery narratives into an alcohol treatment setting. We report PPI recommendations and an overview of video form and content. Through research activity 1, we learnt that patient feedback has not been standardized in prior use of TE, that receiving a numeric marker can provide an objective target that motivates and rewards recovery, and that key alcohol workers regularly tailor information to their clients. Through research activity 2, we developed a video production guide asking narrators what recovery means to them, what helped their recovery, and what they have learned about recovery. We produced 10 recovery narratives and collected PPI recommendations on maximizing impact and safety. These led to the production of unplanned videos presenting caregiver and clinician perspectives, and a choice to limit narrative availability to alcohol treatment settings, where support is available around distressing content. These choices have been evaluated through a feasibility randomized controlled trial [ISRCTN16922410]. Providing an objective target that motivates and rewards recovery is a candidate change mechanism for complex interventions integrating biomarkers of disease. Recovery narratives can contain distressing content; intervention developers should attend to safe usage. RR2-10.1136/bmjopen-2021-054954.

“You Know There’s No ‘It’ Right? ‘It’ Was Just Us”

“You Know There’s No ‘It’ Right? ‘It’ Was Just Us”

The White Room as a Narrative-Psychological Concept in a VideoGame

Based on the ambiguity of the idea of the object of study complexity - videogames, the need to analyze them through the prism of several approaches, the subject of the study was an attempt to create a relatively universal narrative-psychological concept, which we called the "White Room". The universality of this concept lies in its applicability to various game contexts, however, this universality does not entail stereotypes, but implies the need to take into account three components when designing this concept in a game scenario: space, consciousness and simulacra. Space is where the game action takes place, consciousness is the game experience, the perception of the game process, simulacra - everything that fills the game world (objects, players, etc.), depending on the context, determines the interpretation of game events. Scientific novelty lies in the creation of a new narrative-psychological concept, which is based on the ideas of related disciplines and can be used for a wide range of tasks when creating a narrative video game design. The specificity of the concept of the White Room lies in the compositionally correct design of the space and the regulation of the game experience, its imposition on incoherent game scenes, the choice of the right simulacra, which are determined by the game context. The white room can act as the starting setting of the world, the setting, the creation of the world, the place of "psychological relief", self-digging, memories of the past to understand yourself today, the climactic scene, the whole game can also take place in it.

Technical peculiarities of the narrative action games of the 1990s – 2010s as a factor of their development in the context of digital art

The purpose of the article is to reveal and analyze the technical peculiarities of the narrative action games of the 1990s – 2010s as a factor of their development in the context of digital art.
 The methodology of the research is accordingly conditioned by the interdisciplinary and techno-cultural nature of the subject of study that has an influence on the choice of toolkit among the components of which are: firstly, reductionist theory and the principle of technological determinism, which help to reveal the role of computer technology in improving game mechanics and shaping the an artistic-expressive means inherent in action games; secondly, narrative analysis that helps to understand the connection of the aesthetic effect with the unique narrative form of video games, which makes it possible to synergize the interactive and artistic-staging parts; and, thirdly, philosophical approach in its connection with the art historical analysis, thanks to the cooperation of which it becomes possible to apply game and phenomenological principles as elements of the above analysis to reveal the specifics of the artistic-virtual space of action games, which is close to interactive fiction and animated films in its aesthetic characteristics.
 The results. It was pointed out that in the 1990s – 2010s narrative video games thanks to technical progress made a “breakthrough” in the development of an artistic-expressive system. On the examples of “Wolfenstein 3D”, “Quake”, “Half-life”, “Half-Life 2”, “Doom 3”, “Fahrenheit”, “Crysis” and “Heavy Rain” it was proved that the development of action video games in the pointed period was supposed to solve the problem of conventionality (“animation”) of the image through technological innovations that reduced unrealism and increased its expressiveness. The key role in this played such an aesthetic constant as Narrative Space. It was found out that the technological evolution of action games as a genre of digital art was accompanied by the emergence of non-linear artistic and ontological patterns and the acceleration of the dynamics of the development of the game space.
 The scientific novelty. For the first time in the article an attempt was made to analyze the technical peculiarities of the action games of the 1990s – 2010s as a factor in their development in the context of digital art and interactive non-linear narrative.
 The practical significance. The obtained results can be applied in the modernization of programs for the professional training of multimedia directors, sound directors, animators, and other specialties in higher education institutions. The materials of the work are of the practical value for researchers in the field of theory and history of art, modern screen culture and audio-visual synthesis, and can be used in the development of educational and methodological manuals and lecture courses devoted to computer games and interactive programs.

Video games and attitude change: A meta-analysis

Video games are increasingly portraying many topics that we face in our everyday lives. Yet we have only limited evidence about the way narrative games affect how we think about the topics they depict; in other words, about the link between these games and attitude change. Therefore, we conducted a meta-analysis of video games’ effect on attitudinal change. The findings suggest that narrative video games affect players’ attitudes towards the topics depicted in games. This effect was present in studies focused on changes in both implicit (g = 0.36, k = 18) and explicit attitudes (g = 0.24, k = 101). Longer intervention duration and game mechanics such as stereotyping and meaningful feedback resulted in larger implicit attitude change. Regarding the robustness of the underlying evidence, half of the included studies were judged to be at high risk of bias. On the other hand, the impact of publication bias in this literature was found to be negligible. Altogether, this meta-analysis provides evidence that video games shape how we think about topics they represent.

The association between specific narrative elements and patient perspectives on acute pain treatment

BackgroundNarratives are effective tools for communicating with patients about opioid prescribing for acute pain and improving patient satisfaction with pain management. It remains unclear, however, whether specific narrative elements may be particularly effective at influencing patient perspectives. MethodsThis study was a secondary analysis of data collected for Life STORRIED, a multicenter RCT. Participants included 433 patients between 18 and 70 years-old presenting to the emergency department (ED) with renal colic or musculoskeletal back pain. Participants were instructed to view one or more narrative videos during their ED visit in which a patient storyteller discussed their experiences with opioids. We examined associations between exposure to individual narrative features and patients' 1) preference for opioids, 2) recall of opioid-related risks and 3) perspectives about the care they received. ResultsParticipants were more likely to watch videos featuring storytellers who shared their race or gender. We found that participants who watched videos that contained specific narrative elements, for example mention of prescribed opioids, were more likely to recall having received information about pain treatment options on the day after discharge (86.3% versus 72.9%, p = 0.02). Participants who watched a video that discussed family history of addiction reported more participation in their treatment decision than those who did not (7.6 versus 6.8 on a ten-point scale, p = 0.04). ConclusionsParticipants preferentially view narratives featuring storytellers who share their race or gender. Narrative elements were not meaningfully associated with patient-centered outcomes. These findings have implications for the design of narrative communication tools.

Optimistic narrative future visions: a communication tool for promoting sustainable (plastic) behavior.

Plastic pollution is a pressing global issue, necessitating a focus on consumer behavior to curb this problem at its source. To effectively promote sustainable practices, communication strategies that employ future visions have gained attention. This study examines the effects of a narrative video intervention depicting an optimistic future vision concerning single-use plastic bag consumption in South Africa, compared to a representation of the prevailing status quo. Using a preregistered within-subject design, we assess the psychological and emotional responses to two scenarios of which one is illustrating adaptive behaviors toward reduced plastic bag usage, and the other showcasing current consumption patterns. Parametric analyses revealed a shift in emotional states, characterized by a greater experience of positive emotions and a reduced experience of negative emotions following the exposure to the optimistic future scenario video, as compared to the status quo video. Moreover, engagement with the optimistic future scenario was associated with higher levels of perceived behavioral control and behavioral intentions. No significant changes were found regarding sense of responsibility. These findings point to the potential of optimistic future visions to influence individuals at psychological and emotional levels. This renders optimistic future vision communication as an effective tool for sustainable behavior change, particularly in relation to the sustainable use of plastic shopping bags.

Fortify the Truth: How to Defend Human Rights in an Age of Deepfakes and Generative AI

Abstract Audiovisual digital media and tools are critical elements in contemporary human rights documentation and advocacy. Generative AI, deepfakes and synthetic media compound questions of what to trust in an existing situation of government suppression, difficulty proving witness accounts and broader societal challenges to trust. There is a need to ‘fortify the truth’ by fostering resilient witnessing practices that can ensure trustworthy videos and strengthen narratives of vulnerable communities. The author identifies and speculates on actions at tactical, strategic, tools, technology, and policy levels, drawing upon human rights organization WITNESS’s work on proactive preparation for emerging technologies and technical infrastructures. Practical steps occur across a trajectory of using images and video in human rights advocacy and activism including filming, storytelling, watching, analysing, sharing, advocacy, and preservation. Guidance on filming must evolve to address deepfakes and opportunities and challenges in ‘authenticity infrastructure’. Narrative video advocacy and formal legal and policy processes must adapt to new technologies including text-to-image and text-to-video, new disinformation threats such as ‘floods of falsehood’ and new presentation opportunities. The evolution of watching, scrutinizing, and sharing videos accountability amid increasing volume and normalized image manipulation includes positive dimensions of the ‘media forensic turn’, including collaborative ‘open-source intelligence’ verification, and negative aspects involving excessive scrutiny. Finally, preserving audiovisual media is critical, and emerging socio-technical infrastructure should be shaped for community control. Underlying principles for ‘fortifying the truth’ include taking a proactive approach, centring voices and needs of people facing human rights abuses, and working with and challenging technologists and technology companies.

Point of equilibrity. A narrative video game on decision-making during the COVID-19 pandemic crisis

IntroductionPoint of Equilibrity (PoE) is a narrative game designed and developed with the aim to simulate the COVID-19 pandemic from a government's point of view and offer different perspectives on the complexity of managing a pandemic crisis. The players are called to make important decisions during a health crisis in the simulated environment while considering significant historic and topical events, as well as possible economic, political, and social implications.MethodsThis paper presents the results of a user study with 37 adult participants aiming to examine (1) the effect of PoE gameplay on the players' perspective on the management of the COVID-19 pandemic crisis, and (2) the effect of the players' FFM and DMQ personality traits profile on the game experience and the decision-making process. The participants played the game and then were asked to fill in an on-line questionnaire.Results and discussionThe results suggest that the game design offered an engaging game experience and was effective to promote reflection and perspective taking on different aspects of crisis management, as well as the supporting role of relevant historical information in the decision-making process. The study also reports correlations between specific personality traits, such the DMQ Thoroughness and Principled, the FFM Conscientiousness and Openness to experience with specific aspects of the game experience, such as absorption, perspective taking and the preference for more choices in the gameplay.

Comprehensive intervention for reducing stigma of autism spectrum disorders: Incorporating the experience of simulated autistic perception and social contact.

Stigma of autism spectrum disorders (ASD) is a crucial factor leading to a lower quality of life for individuals with ASD. This research evaluated an intervention effect for the stigma through an experience of simulated autistic visual perception and video-based social contact. The intervention was conducted as an experiential workshop for the ASD simulator. Participants (N = 217; 156 women, 61 men; a mean age of 41.3) voluntarily attended the workshop. In the workshop, they received a short lecture on autistic perception, a simulated experience using the ASD simulator, a narrative video of individuals with ASD, and a group discussion. They completed the multidimensional attitudes scale, which was developed to measure four attitudes toward ASD: negative affect, calm, cognitions, and behaviors. The attitudes were measured three times: the period of registration with the workshop, during participation in the workshop, and six weeks after the workshop. With regard to the measure during participation in the workshop, attendees responded to the attitudes at the beginning or end of the workshop, to confirm whether attitudes changes were attributed to the effectiveness of the intervention or artifacts resulting from participation in the workshop. A significant reduction was observed in negative affective attitudes at the end of the workshop and persisted even six weeks afterward, even though not observed in calm, cognitive, and behavioral attitudes. Our findings suggest that implementation of our intervention can bring about reduction of the stigma associated with ASD. Further studies with a random sampling method are needed to validate its generalizability and elaborate the components of the intervention.

Moving beyond eat less, move more using willpower: Reframing obesity as a chronic disease impact of the 2020 Canadian obesity guidelines reframed narrative on perceptions of self and the patient-provider relationship.

Obesity is becoming recognized as a complex, chronic medical condition. However, the dominant treatment narrative remains that goal weight can be achieved by eating less, moving more using willpower, placing responsibility for change on the person with obesity (PwO). This study evaluated the impact of revising this narrative, to viewing obesity as a treatable medical condition, on internalized weight bias and perceived patient-provider relationship. PwO were recruited into an online study in which two videos were presented; the first showing a traditional doctor endorsing the eat less, move more approach, and the second showing a doctor describing obesity as a treatable medical condition. After each video participants were asked to imagine that they were being treated by that doctor and completed the Weight Bias Internalization Scale (WBIS) and the Patient-Health Care Provider Communication Scale (PHCPCS). A total of 61 PwO (52% response rate) completed the protocol. Compared to the traditional narrative video, the revised narrative video resulted in significant reductions in WBIS scores and significant increases in the PHCPCS scores and was preferred by participants. Within the context of this small-scale study evidence supports that the revised narrative promoting obesity as a complex, chronic but treatable medical condition that is not the result of personal failure has a positive impact on the perceived patient-provider relationship and is associated with reductions in internalized weight bias. This evidence supports the need to help PwO reframe obesity from a personal failure to a legitimate medical condition worthy of care.

Exploring parents' views of the use of narratives to promote childhood vaccination online.

Negative information about vaccines that spreads online may contribute to parents' vaccine hesitancy or refusal. Studies have shown that false claims about vaccines that use emotive personal narratives are more likely to be shared and engaged with on social media than factual evidence-based public health messages. The aim of this study was to explore parents' views regarding the use of positive narratives to promote childhood vaccination. We identified three ∼4-minute video narratives from social media that counter frequent parental concerns about childhood vaccination: parents and informed decision-making (online misinformation about vaccines); a paediatrician's clinical experience with vaccine-preventable diseases (prevention of still existing diseases); and a mother's experience with vaccine-preventable disease (risks of the disease). Focus group discussions were held with parents of children aged 0 to 5 years to assess their views on these three narratives and their general opinion on the use of narratives as a vaccine promotion intervention. Four focus groups discussions were virtually held with 15 parents in December 2021. In general, parents trusted both health care provider's and parent's narratives, but participants identified more with stories having a parent as the main character. Both narratives featuring personal stories with vaccine-preventable diseases were preferred by parents, while the story about informed decision-making was perceived as less influential. Parents expressed the need for reliable and nuanced information about vaccines and diseases and felt that a short video format featuring a story was an efficient vaccine promotion intervention. However, many mentioned that they generally are not watching such videos while navigating the Web. While vaccine-critical stories are widely shared online, evidence on how best public health could counter these messages remains scarce. The use of narratives to promote vaccination was well-perceived by parents. Future studies are needed to assess reach and impact of such an intervention.

Connecting historical events to contemporary issues in bioethics and medical humanities teaching

Introduction: Didactic pedagogy and passive learning in bioethics and medical humanities teaching are ineffective in engaging students and gauging learning interests. As a result, medical students are unaware of why and how bioethics and medical humanities relate to their learning and thus prioritising acquiring clinical knowledge in their medical education. Methods: This project involves a teacher-student collaboration to develop a teaching approach, which bridges historical events and contemporary issues, acknowledging how ethics and humanities are interwoven in clinical and everyday life. The objectives are to (1) highlight landmark historical events in bioethics and medical humanities and (2) recognise the evolving nature of values and social norms that inform current practice. Results: The three activities include the use of historical narratives, annual newsletter publications, and social media to augment didactic classroom teaching and learning. Video narratives of landmark events in bioethics were developed to strengthen historical knowledge and encourage self-reflection. The newsletter invited students to write about any topic in bioethics and medical humanities and enabled them to experience a peer-review process. It allowed students to critically appraise everyday issues. Social media engagement via Instagram offered a flexible and informal medium to diversify the traditional bioethics content taught in the classroom. The advantages and obstacles of each element are discussed. Conclusion: A holistic approach using historical narratives, newsletters, and social media engages students’ learning and allows students to become conscious of how past events shape the present.

All the (West)World’s a Stage: HBO’s Westworld as Metatext—Intertextuality, Genre, Seriality, Format

With roots in an earlier film about well-heeled human guests in an android-populated theme park modeled after an Old West experience, Westworld is a recent offering in HBO’s ongoing pursuit of quality television. Combining Western and science-fiction elements, its intertextual relationship to genre is unusually foregrounded. This intertextuality takes on added dimensions in its more recent adaptation. Furthermore, as an ongoing television program, it adds considerations of seriality and format. This article examines how these elements of intertextuality, seriality, format, and the specific embodiments of genre reveal the series’s function as a metatext, as a series commenting on and critiquing the narrative television series. Westworld’s overdetermined genre performance reveals a postmodern parody of genre itself. By simultaneously performing and playing with notions of genre, Westworld embodies the doubly-conscious, neo-baroque text. It goes well beyond its relationship to genre, including self-conscious seriality. The host loops offer a conspicuous site of repetition and difference, an aspect necessary to the aesthetic experience and pleasures of the postmodern audience. Ultimately, Westworld’s central conceit of a genre-based theme park offers a pointed critique of the television format as both a culturally specific and fungible commodity in the globalized media space.

Video narratives as a trauma-informed pedagogical tool in remote social work education

ABSTRACT This article describes the use of video narratives with undergraduate social work students to assist with implementing explicit and implicit curricula during remote instruction due to COVID-19. While use of video narratives was not originally planned in a senior capstone course, technology was quickly employed to help students process feelings about grief and loss associated with abruptly ending classes and activities. Modification of assignments to promote student discussions about the mutual crisis is consistent with a trauma-informed teaching approach. Data collected from a cohort of undergraduate social work students reveals strong satisfaction by students with the use of video narratives and supports their use in social work courses in the future, regardless of the requirement for remote instruction. Ideas for promoting the use of video narratives as a social work pedagogical tool during times of mutual crisis and more broadly are presented.

IMPROVING STUDENTS’ MONOLOG PERFORMANCE THROUGH A NARRATIVE VIDEO

Monolog is one of the speaking skills that should be mastered by the students in learning a language. This skill needs many criteria that should be mastered by any speaker. There are some components in monolog performance that show whether someone meets the criteria of being success in performing his/her monolog or not. They include body language, grammar, pronunciation, fluency, speed etc. Though, before performing their monolog they have been given a simple story read in the classroom, the result of their monolog are far from being good enough. Their drawbacks can be analyzed that they are lack of getting exposed from English activities that support their performance. They can be in form watching film or video or lack of stimulus to develop their English skill performance. To improve their skill, narrative video is used to let them have more opportunity to improve their monolog. The method shows that their performance increases after they are given an independent task to watch a narrative video several times.

Convergence of Theatre, Cinema, Amusement Park, and Video Game Design to Explore Parallel Interactive Narratives in Cinematic Virtual Reality

Table for Two is a short parallel interactive narrative in cinematic virtual reality. This virtual reality experience is a creative artefact that has adopted screen production enquiry as a practice-based research. This research aims to explore alternative narrative possibilities in virtual reality. Virtual reality is one of the latest disruptions in cinema that has challenged filmmakers with new methods for 360-degree storytelling. This challenge has led to several studies recommending grammar to guide the users’ gaze toward intended areas in the virtual environment. However, it is argued that this aspect limits the full potential of virtual reality. This study on parallel interactive narratives in virtual reality addresses this limitation. Here, the user is addressed as a navigator of the experience. Table for Two offers navigation freedom to look anywhere they desire in the virtual reality environment. A number of studies on virtual reality narratives suggests that theatre, cinema, amusement park and video game design techniques are relevant for virtual reality productions. This research describes how the fusion of these research fields and art forms contributed to new methods for exploring cinematic virtual reality and interactive 360-degree video narratives. Several studies suggest that virtual reality experiences have similarities with theatre, and therefore knowledge relating to theatre experiences can benefit virtual reality production. For this reason, the casting talent of Table for Two was selected from the local theatre group. It was observed that their experience with improvisations and performance for long takes significantly contributed to the virtual reality production. This paper refers to Linda Aronson’s description of parallel narratives in the context of cinema. Parallel narratives have been present in limited quantity through artistic experiments in early cinema. However, the rapid growth of interactivity in narratives has increased in parallel narrative forms in mainstream cinema. It is observed that parallel narratives are gradually emerging in virtual reality experiences. However, there is a lack of knowledge of the design and development processes. While there is a difference between cinematic and VR narrative, Aronson’s parallel narrative forms in cinema, such as tandem, multiple protagonist, double journey, split screen and consecutive narratives, can be applied in cinematic virtual reality. Additionally, space design in amusement parks reveals the significance of infusing the narrative into the set. One key feature called embedded narratives has been incorporated into the set design of Table for Two. Furthermore, interactive narratives for video game design played an essential role in shaping the navigation experience in Table for Two. Along with the influence of these mediums, Table for Two encountered unique challenges with the performance from multiple 360-degree cameras, customized script writing methods, integrating all filming material into the set design, and navigation interactivity, which does not alter the outcome of the story world. This paper discusses the challenges and considerations for creating a parallel interactive narrative in cinematic virtual reality. The theoretical discourse presented in this paper suggests how the convergence of various mediums contributes to new narrative possibilities in virtual reality.

A Systematic Review of the Intelligent Digital Storytelling Process in Disseminating Health Information

Digital storytelling is a new concept in education that involves creating meaning. It is a tool with great potential, but in Thailand, it is currently not very popular in terms of sharing stories about disease. This review analyzes the components and processes of intelligent digital storytelling to aid the development of an intelligent digital storytelling platform for disseminating health information. Based on the synthesis of relevant documents, the research process involves 9 main steps: 1) identifying the review objectives, 2) reviewing research questions, 3) determining inclusion criteria, 4) finding relevant studies, 5) selecting documents, 6) data extraction, 7) arriving at a conclusion, 8) document synthesis and 9) discussion of the results. A study of articles from the PRISMA Checklist published between 2017 and 2022 revealed that ultimately only 47 articles met the inclusion criteria. From the analysis of the data, it was found that there are four main elements and 16 sub-components of intelligent digital storytelling. There are 12 steps in the process of intelligent digital storytelling with regard to health information dissemination. The optimal length of an intelligent digital narrative video clip relating to health information dissemination is approximately 2-5 minutes when it comes to achieving the best knowledge of health information.