Abstract: Virtual Reality (VR) content creation is a complex and an expensive process, which requires multi-disciplinary teams of content creators. Grant schemes from technology companies help media organisations to explore the VR potential in journalism and factual storytelling. Media organisations try to do as much as they can in-house, but they may outsource due to time constraints and skill availability. Journalists, game developers, sound designers and creative artists work together and bring in new cultures of work. This study explores the collaborative experimental nature of VR content creation, through tracing every actor involved in the process and examining their perceptions of the VR work. The study builds on Actor Network Theory (ANT), which decomposes phenomena into their basic elements and traces the interrelations among them. Therefore, the researcher conducted 22 semi-structured interviews with VR content creators between November 2017 and April 2018. Purposive and snowball sampling techniques allowed the researcher to recruit fact-based VR content creators from production studios and media organisations, as well as freelancers. Interviews lasted up to three hours, and they were a mix of Skype calls and in-person interviews. Participants consented for their interviews to be recorded, and for their names to be revealed in the study. The researcher coded interviews’ transcripts in Nvivo software, looking for key themes that correspond with the research questions. The study revealed that VR content creators must be adaptive to change, open to learn and comfortable with mistakes. The VR content creation process is very iterative because VR has no established work flow or visual grammar. Multi-disciplinary VR team members often speak different languages making it hard to communicate. However, adaptive content creators perceive VR work as a fun experience and an opportunity to learn. The traditional sense of competition and the strive for information exclusivity are now replaced by a strong drive for knowledge sharing. VR content creators are open to share their methods of work and their experiences. They target to build a collaborative network that aims to harness VR technology for journalism and factual storytelling. Indeed, VR is instilling collaborative and experimental cultures in journalism.
Abstract: Enhanching English vocabulary in early childhood is the main problem often faced by teachers. Thus, the purpose of this study was to determine the enhancement of children’s English vocabulary acquisition by using digital storytelling. This type of research was an action research. It consisted of a series of four activities done in repeated cycles: planning, implementation, observation, and reflection. The subject of the study consisted of 30 students of B group (5-6 years old) attending Happy Kids Kindergarten Palembang, Indonesia. This research was conducted in three cycles. The methods used for data collection were observation and documentation. Descriptive qualitative and quantitative methods were also used to analyse the data. The research showed that the digital storytelling learning activities could enhance the children’s English vocabulary acquisition. It is based on the data in which the enhancement in pre-cycle was 37% and 51% in Cycle I. In Cycle II it was 71% and in Cycle III it was 89.3%. The results showed an enhancement of about 14% from the pre-cycle to Cycle I, 20% from Cycle I to Cycle II, and enhancement of about 18.3% from Cycle II to Cycle III. The conclusion of this study suggests that digital storytelling learning method could enhance the English vocabulary acquisition of B group children at the Happy Kids Kindergarten Palembang. Therefore, digital storytelling can be considered as an alternative to improve English language learning in the classroom.
Abstract: This paper proposes an innovative approach to represent the Pictogram Chinese Characters. The advantage of this representation is using an extraordinary representation to represent the pictogram Chinese character. This extraordinary representation is created accordingly to the original pictogram Chinese characters revolution or transition. The purpose of this innovative creation is to assist the learner to learn Chinese as second language (CSL) in Chinese language learning, specifically on memorizing Chinese characters. Commonly, the CSL will give up and frustrate easily while memorizing the Chinese characters by rote. So, our innovative representation helps on memorizing the Chinese character by visual storytelling. This innovative representation enhances the Chinese language learning experience of the CSL.
Abstract: This paper aims to combine film-editing principles with basic design principles to explore what graphic designers do in terms of storytelling. The sequential aspect of film is designed and examined through the art of editing. Examining the rules, principles and formulas of film editing can be a used as a method by graphic designers to further practice the art of storytelling. There are many publications and extensive research on design basics; however, time, pace, dramatic structure and choreography are not very well defined in the area of graphic design. In this era of creative storytelling and interdisciplinary collaboration, not only film editors, but also graphic designers and students of art and design should understand the theory and practice of editing to be able to create a strong mise-en-scène and not only a mise-en-page.
Abstract: The brand storytelling themes and emotional appeals of three major global brands were analysed by means of visual rhetoric in a digital environment focusing on the ethos communication technique. A well-known framework of five basic brand personality dimensions was used to delineate the analysis. Brand storytelling as a branding technique is becoming increasingly popular, especially since all brands can tell a story to connect and engage with consumers on an emotional level. Social media have changed the way in which brand stories are shared with online consumers, while social video networking sites in particular create an opportunity to share brand stories with a much greater target audience through electronic word of mouth (eWOM). The findings not only confirm three dimensions in the traditional brand personality framework, but can also serve as a heuristic tool for other researchers analyzing brand storytelling in a social video sharing network environment.