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This study presents a review based research framework that aims to influence memory institutions in their projects on digital storytelling from digitized ancient travel records. This study aims to influence research and policymaking related to design and delivery of services based on memory institutions’ collections of historical records.

The demonstrated research framework has been synthesized using inputs from a review of existing studies on the domain accompanied by a short survey created for collecting the opinion of selected experts. Studies demonstrating utilization of semantic web technologies and those that can influence policymaking related to digital storytelling were primarily reviewed.

The core tasks behind digital storytelling vary depending on the project goals. So, a two-part framework had to be proposed that covers the generic fundamental tasks with diverse applicability and digital storytelling related specific tasks separately. Also during the review, it was found that studies demonstrating the use of travel records for digital storytelling were less in number compared to studies using digital storytelling for tourism in general.

The demonstrated research framework can guide memory institutions in exposing their travel-related holdings to a wider audience using innovative semantic web technologies and open up avenues for future empirical research thereby adding to the novelty of the presented research. Also, reviews of articles on digital storytelling or digital humanities in general exist, but, review of digital storytelling initiatives focusing specifically on tourism and travel literature is scarce.

This study centers on high school pre-teacher education students’ reviews of their peers’ digital stories. The purpose of this study is twofold: to bring digital storytelling to the forefront as a literacy practice within classrooms that seeks to privilege students’ voices and experiences and also to encapsulate the authors’ different experiences and perspectives as teachers. The authors sought to understand how pre-teacher education candidates analyzed, understood and made meaning from their classmates’ digital stories using the seven elements of digital storytelling (Dreon et al., 2011).

Using grounded theory (Charmaz, 2008) as a framework, the question of how do high school pre-teacher education program candidates reflectively peer review their classmates’ digital stories is addressed and discussed through university and high school instructors’ narrative reflections. Through peer reviews of their fellow classmates’ digital stories, students were able to use the digital storytelling guide that included the seven elements of digital storytelling planning to critique and offer suggestions. The authors used the 2018–2019 and 2019–2020 cohorts’ digital stories, digital storytelling guides and peer reviews to discover emerging categories and themes and then made sense of these through narrative analysis. This study looks at students’ narratives through the contexts of peer reviews.

The seven elements of digital storytelling, as noted by Dreon et al. (2011, p. 5), which are point of view, dramatic question, emotional content, the gift of your voice, the power of the soundtrack, economy and pacing, were used as starting points for coding students’ responses in their evaluations of their peers’ digital stories. Situated on the premise of 21st century technologies as important promoters of differentiated ways of teaching and learning that are highly interactive (Greenhow et al., 2009), digital stories and students’ reflective practices of peer reviewing were the foundational aspects of this paper.

The research the authors have done has been in regards to reviewing and analyzing students’ peer reviews of their classmates’ digital stories, so the authors did not conduct a research study empirical in nature. What the authors have done is to use students’ artifacts (digital story, digital storytelling guides and reflections/peer reviews) to allow students’ authentic voices and perspectives to emerge without their own perspectives marring these. The authors, as teachers, are simply the tools of analysis.

In reading this paper, teachers of different grade levels will be able to obtain ideas on using digital storytelling in their classrooms first. Second, teachers will be able to obtain hands-on tools for implementing digital storytelling. For example, the digital storytelling guide to which the authors refer (Figure 1) can be used in different subject areas to help students plan their stories. Teachers will also be able to glean knowledge on using students’ peer reviews as a kind of authentic assessment.

The authors hope in writing and presenting this paper is that teachers and instructors at different levels, K-12 through higher education, will consider digital storytelling as a pedagogical and learning practice to spark deeper conversations within the classroom that flow beyond margins and borders of instructional settings out into the community and beyond. The authors hope that others will use opportunities for storytelling, digital, verbal, traditional writing and other ways to spark conversations and privilege students’ voices and lives.

As the authors speak of the original notion of using students’ crucial events as story starters, this is different than prior research for digital storytelling that has focused on lesson units or subject area content. Also, because the authors have used crucial events, this is an entry point to students’ lives and the creation of rapport within the classroom.

This chapter reports on an ethnographic case study of how a group of elementary school teachers designed technology enhanced learning with mobile technology (e.g. notebooks, tablet computers and mobile phones) to facilitate students’ development of literacy and twenty-first century competencies. These teachers designed the school’s literacy pedagogical approach, leveraging the use of technology, namely digital storytelling. The school in this case study is one of the eight Future Schools in Singapore under the FutureSchools@Singapore program. The school has been providing one-to-one mobile computing learning devices and wireless Internet access for its students. The introduction of technology in the classroom makes it possible for twenty-first century competencies to be integrated into literacy development. The conversational framework is used as a framework to examine how the design of the digital storytelling pedagogical approach brings about the various teaching–learning activities – acquisition, inquiry, practice, production, discussion and collaboration. The use of digital storytelling as an approach to integrate information communication technology (ICT) into the classroom has not only modified how ICT is being used in the school, it has redefined how ICT could be used to engage young learners. It has fundamentally transformed conventional storytelling with the use of current state-of-the-shelf (i.e. easily and widely available) technologies. This case study also outlines the processes involved in improving the design of digital storytelling over the years by the teachers. The ecosystem of the school is also taken into consideration and described in detail. Findings suggest the importance of the collaborative efforts of the teachers in the continuous improvements made to this design. The adoption of a learning design framework, such as the one used in this study, can be beneficial to ensure a systematic approach to the design of learning. In addition, the availability of technological infrastructure and computing devices are necessary for the seamless use of technology in the classroom. The just-in-time learning approach is adopted for students to learn technology as they are developing their digital stories.

This research responds to a growing interest among cultural organizations regarding how to use emerging digital technologies in the communication of cultural content. The need to investigate various aspects of digital transformation for cultural organizations has been heightened during the coronavirus disease 2019 (COVID-19) pandemic. This paper explores how city cultural organizations can utilize digital stories for impression management to enhance public perceptions of a city. The aim of this study is to understand how end-users are affected by a city cultural digital storytelling information system and the benefits of using such a system.

An interpretive case study was conducted on a digital storytelling initiative carried out by three cultural organizations in a medium-sized city in Canada. Data collection included 95 interviews with the general public, questionnaires and the gathering of documents.

Findings suggest that digital storytelling can be a viable tool to share city cultural heritage information and positively affect end-user perceptions of a city. The overall outcome of creating/maintaining a positive favorable impression is shaped through a layered experience of benefits by users. Through digital stories, users are first personally engaged and informed about a city's cultural heritage, and then they are influenced and inspired positively toward the city. Further, factors, such as leisure learning, cultural heritage information and cultural organizations, situate this context of use.

The study sheds light on how the art of storytelling in the digital age can serve as a powerful tool for conveying information effectively and influencing public perceptions. This paper provides a context-specific model to understand the use of digital storytelling by city cultural organizations for the purpose of impression management. Theoretical insights and practical recommendations are provided to explore the utilization of digital storytelling for raising interest and awareness in a city and managing public perceptions.

The purpose of this paper is to investigate possible purposes of digital storytelling and discuss practical implementation in a community-based digital storytelling project.

This case study investigates the function of digital storytelling for archiving local history, specifically by journaling experiences during a digital storytelling grant project at a public library in Southern California.

This case study details a specific example of the impact digital storytelling can have on a community, both to foster community building and also to encourage documentation of local history. The main goal of the project was to present and archive filmed stories from local community members; however, the project also led to increased awareness of digital storytelling and the associated technology both within the library and the greater community.

This article should provide best practice guidelines for administering a community-based digital storytelling project including suggestions for outreach to the larger community, dealing with technical issues, and tackling operational issues.

Digital storytelling has had a profound impact on the way that society communicates and can be used effectively for purposes of outreach and activism, to educate using technology, or to document micro-histories. This case study provides an assessment of the current uses of digital storytelling and presents a successful implementation of a local history digital storytelling project at a public library.

Digital engagement with advertising remains challenging for marketers. This research examines “being hooked” as the mechanism of narrative transportation associated with digital video storytelling ads. Its purpose is to examine the efficacy of digital video ad format (storytelling vs argumentative) in hooking viewers (i.e. grabbing attention and interest in the ad). This research also presents a conceptual model of the effect of being hooked on digital engagement with advertising.

This study employs a quasi-experimental research design with a final sample of 273 undergraduate students. It tests the hypothesis that digital video storytelling ads hook viewers more effectively than argumentative ads do. It also tests a conceptual model of the positive effect of being hooked on digital engagement with advertising.

Digital video storytelling ads hook viewers more effectively than argumentative ads do. SEM analysis shows that being hooked positively impacts intentions to view, share, promote and spread positive word of mouth. Attitude toward the ad partially mediates the relationship between being hooked and intentions to promote and spread positive word of mouth.

Findings are applicable to target audience profiles that match the sample in this study. Despite this and other limitations, findings advance theory on the process underlying digital video storytelling advertising effects on consumer engagement.

Marketers are advised to invest in more digital video storytelling than argumentative ads. In doing so, marketers are more likely to hook viewers on the ad, thereby generating positive digital engagement with advertising.

This research focuses on attention and interest dimensions of narrative transportation as measured by “being hooked.” It also extends past models of narrative transportation by including more representative measures of digital engagement with advertising.

Images had long conveyed politics through forms as varied as private paintings and public coins. If images are storytelling vectors (Fusari, 2017), visual artefacts were intended to re/shape human perception of current events and, consequently, their states of ‘being in the world’ (Heidegger, 2001); this is the reason why the visual quality of communication might be hard to disjoin from that of ‘performativity’ (Cartier-Bresson, 2018).

The polysemic (Barthes, 1977), if not fully open (Eco, 1989), quality of visual semiotics complicates identification of any framework of reference and adds to the need for practical and sensible research in digital communication (Fusari, in press).

Since the first US Presidential debate televised in 1968, a new interest surged towards the understanding and production of visual communication of politics. Increasingly so, images (both still and moving ones) have affected, if not thoroughly shaped, understanding of all recent political affairs, particularly so from the 1992's Gulf War onward (Baudrillard, 1995; Kellner, 1992).

The 2012 Invisible Children (IC)'s campaign is here assessed as the milestone marking the potential for global impact acquired by socio-political visual-centred storytelling.

The intertwining of the digital with the visual has yet to be precisely arranged for socio-political storytelling; also, storytelling as a format and approach has increasingly gained relevance, adding new concerns to issues of veracity.

In response, this chapter advances the notion of ‘storyline’ in conjunction with that of ‘storytelling’: the resulting taxonomy aims to review specific notions of truth- and trust-fulness from a visual-centred perspective.

The chapter thus explores the requirements for communicating and understanding visual storytelling on digital media; by doing so, it addresses the extent to which ‘visual storytelling’ might be a notion fit for the job of disseminating today's digital cultures.

Eventually, the chapter will question how to design visually centred communication formats and, in turn, engage these as storytelling of socio-political issues for digital platforms.

While some may perceive technology as disruptive in higher education, this chapter makes a case that video technology can be used to increase collaboration and engagement in learning and teaching. It is argued that digital storytelling can be integrated as part of the assessment in graduate-level courses without compromising expectations related to academic rigor. Rather, digital storytelling advances multimedia literacy for the individual and supports the generation of bounded learning communities, specifically in online and blended programmes. Covering social presence, teaching presence and cognitive presence, the chapter draws on two examples of digital storytelling used in the MA in Conflict Analysis and Management and the MA in Global Leadership at Royal Roads University, Canada. Overall, the chapter makes a contribution to the conversation of how assessment formats can be updated to match the shift from traditional, lecture formats and brick-and-mortar institutions to applied, collaborative programmes that are often delivered in blended and online formats. Thus, as the field of higher education continues to evolve and adapt alongside technological innovations, the chapter suggests that digital storytelling can be one way to complement and update assessment formats to match the evolution of the twenty-first century.