디지털 기술은 단순한 정보 전달 수단을 넘어서, 서사를 생성하고 소비하는 방식을 재정의하는 새로운 형태 의 패러다임이다. 디지털 기술의 발전과 함께, 디지털 매체는 강력한 스토리텔링 도구로서 현대 교육 분야에 자리 잡고 있으며, 이는 전통적인 교육 방식과 비교했을 때 학습자의 상호작용이 강조된다는 차이가 있다. 본 연구는 이러한 디지털 스토리텔링 환경에서 시·청각이 결합된 정보를 학습자에게 제공하고, 스토리텔링 과정에 선택지를 제공함으로써 상호작용성과 게임 요소를 더해 학습자 스스로 스토리텔링을 통해 학습하는 방법을 제안하였다. 그리고 연구의 타당성 검증을 위해 전문가 인터뷰를 실시하였다. 전문가 검증결과, 학습 자 스스로 스토리텔링을 통해 학습하는 과정은 이해도와 몰입도 측면에서 매우 효과적일 것이라는 긍정적인 답변을 얻을 수 있었다.

This qualitative case study explores multilingual learners’ linguistic practices and how they are interrelated with their identities in the context of a Korean alternative school. The learners are two Chosunjok, and one North Korean refugee child. The data were derived from the learners’ digital storytelling videos, semi-structured interviews, stimulated-recall interviews, and observation field notes. The data were thematically analyzed and organized using Rose’s (2007) sites of visual meaning-making structure. The findings revealed that the learners had different amounts of access to information regarding second language learning, and that they depended on the resources available within the communities they belonged to. Moreover, the participants’ levels of investment in language learning were constructed around their communities and identities. Their attitudes in language learning were also interrelated with the broader English language ideologies in South Korea. By sharing the stories of three multilingual learners, the study provides pedagogical implications on the influence of resources on multilingual learners’ language learning. We emphasize the importance of providing a space for multilingual learners to critically reflect on current and future resources, utilize their full communicative repertoire, and identify ways to increase their affordances of learning.

Digital video advertising is an emerging creative format increasingly prevalent online. To attract audiences, creative strategies often employ narrative storytelling techniques that transport the viewer into an entertaining cognitive and affective experience. This study explores key engagement characteristics of creative executions across categorical digital video advertising formats.

As a contemporary, postmodern marketing strategy, digital storytelling is the virtual means by which a story can be organized. Less traditional than a conventional beginning, middle, and end narrative, the genre suggests that individuals connect the dots of a story by comparing their reading with others. This research examines Christian Dior’s Secret Garden IV campaign film as it is broadcasted on YouTube for six weeks and diffused through Instagram. Through a grounded theory approach we measure and analyze audience engagement and key themes expressed through user-generated content on YouTube and Instagram. Manual coding and three computer-aided text analysis programs are used to analyze the data and triangulate results. This research contributes to the literature on consumer engagement in digital storytelling, online brand communities, and celebrity endorsement. Introduction Digital technologies have improved the aesthetics of content creation, enabling brands to develop deeper levels of engagement with consumers through social channels (Merrilees, 2016). Every day hundreds of millions of hours of video are consumed on YouTube and the number of high performing channels has been increasing by 50% per year (YouTube, 2017). Instagram’s monthly active users have grown from 300 million in December 2014 to 600 million in December 2016 (Statista, 2017). Within the social media sphere, commercial and individual users connect through multiple platforms and devices to share ideas and information without the constraint of time and space (Gruzd & Wellman, 2014). The digitization of visual culture provides users with so much content that it may even result in information overload (Babin et al., 2017). This research focuses on the fashion sector and social media platforms that cater specifically to visual imagery and video content. The logic is twofold: the fashion industry is inherently visual and research on a study of eighty-three fashion brands indicates a shift from traditional advertising to video products, especially on social media (L2 Inc., 2016). We examine elements of French luxury goods company, Christian Dior’s Secret Garden omni-channel marketing campaign. As a collection of short films shown on YouTube and in other media, the campaign had four annual installments beginning in 2012. The Secret Garden series explores the brand’s past and present within the context of the 21st century Palace of Versailles. Our focus is on Secret Garden IV, launched in May 2015, featuring singer/songwriter Rihanna as the protagonist. Dior’s portrayal of Versailles throughout the Secret Garden series reflects undertones of its monarchial heritage and its high fashion prestige. In Secret Garden IV, there is a juxtaposition to this theme when Rihanna’s subculture persona and celebrity status (Fleetwood, 2012) presents a misalignment between luxury ideals and Rihanna’s position in popular culture. Table 1 provides an overview of the history of the campaign. This research measures and analyzes audience engagement and key themes expressed through users’ comments on YouTube and Instagram for the pre-launch and launch of the Secret Garden IV campaign. Through a grounded theory approach we identify, analyze, and validate keywords and group them into themes utilizing both manual coding and computer-aided text analysis (Lai & To, 2015). We utilize three software programs (Tableau, NVivo 11, and Leximancer) to triangulate results. The scholarly literature on fashion luxury goods is scant and this methodological approach is sound (Neuendorf, 2017). Five recent scholarly articles on luxury fashion goods and social media were identified. One relates to storytelling and is visually-focused (Megehee & Spake, 2012); three develop models (Kim & Ko, 2010; Kim & Ko, 2012; Brogi et al., 2013); and one uses the case study approach (Phan et al., 2011). This research fills both a theoretical and a methodological gap. We examine a digital storytelling campaign across social media platforms with the prospect of new theoretical insights. According to Snelson (2016) there is scant social media research on YouTube and Instagram and social media research using a grounded theory approach is also limited. Theoretical background Digital Storytelling Digital storytelling uses technology as an extension of oral and written stories “…to solidify our cultures and share knowledge for the future” (Irwin, 2014, p. 40), placing engagement with digital media as an extension of the self. People naturally think in narratives and stories, rather than arguments and paradigms (Megehee & Spake, 2012) and may use digital storytelling to order otherwise disconnected experiences into interrelated, meaningful episodes (Vannini, 2012). By connecting the dots of a story on social media users have the opportunity to formulate meanings of their own and build interpretations by comparing their “reading” with that of others. Social media has empowered the consumer by enabling communication that is multi-way, multi-directional, and led by the consumer (Tuten & Solomon, 2015). The fashion film on the internet has been viewed as “a genre that is not is not simply a tool to stimulate consumption, but is something that is set to change our notion of fashion as a moment in time” (Khan, 2012, p. 236). In her review, “100 Years of the Fashion Film,” Marketa Uhlirova posits that contemporary technologies aimed at a film’s “potential to promote fashion” turned into “the medium’s ability to recast consumption as seductive visual entertainment,” devaluing a fashion film’s potential for not only entertainment and visual pleasure, but also for experimentation and innovation (Uhlirova, 2013, p. 140; p. 153). Online Brand Communities As a hub of value creation in the consumer marketplace, brand communities are an enthusiastic, passionate group of customers who express similar commitment towards a brand or product and may not be geographically bound (Muniz Jr. & O’Guinn, 2001; McAlexander et al., 2002). In brand communities created by marketers, organizations may stimulate engagement, brand loyalty and the expression of positive emotions and trust (Bagozzi & Dholakia, 2006; Jung et al., 2014). Customer engagement behaviour pertains to a variety of online and offline behaviours (e.g. word of mouth, blogging, customer reviews) that are not transactional, but can be measured (Verhoef et al., 2010). Although positive word of mouth and brand advocacy are not guaranteed, an organization’s most engaged social customers have the potential to communicate messages that are perceived as more credible than those generated by the organization (Kozinets et al., 2010). A high level of engagement may be described as delight or joy. Engagement requires strong emotional and relational bonds (commitment and trust), and may transform customers into loyal “fans” or co-creators of value (Hawkins & Davis, 2012). A study of customer engagement behaviour in a social media environment is complex because engagement behaviour in different channels may vary considerably, with a different effect on value creation or purchase intent. For example, if a customer tweets on a mobile device his/her engagement and purchase intent may differ from engagement and purchase intent as a result of interaction with a video or blog (Libai et al., 2010). Celebrity Endorsement A celebrity endorsement is defined as “an agreement between an individual who enjoys public recognition (a celebrity) and an entity (e.g., a brand) to use the celebrity for the purpose of promoting the entity” (Bergkvist & Zhou, 2016). Celebrity endorsements previously were associated primarily with consumer goods and services advertised through traditional media, such as print and television. More recently, these endorsements encompass any mode of communication as well as business-to-business goods and services. This update is significant considering the addition of advertising on the Internet, in social media, “stealth marketing” on TV talk shows (Kaikati & Kaikati, 2004) and red carpet appearances (Carroll, 2009). Theories related to celebrity persuasion that have application to the fashion industry have examined the way consumers process information from marketing communications and relate it to their self-concept (Carroll, 2009). To the consumer, the celebrity represents a meaning, based on the recognition s/he has received in the symbolic environment and his/her persona. This meaning is transferred to the product when the celebrity is seen in the marketing communication. In the final stage, the meaning moves from the product to the consumer, who transfers the meaning into his/her notion of the self-concept (Carroll, 2009). This transference effect benefits the brand (Tuten & Solomon, 2015) and the consumer who may use products to reveal their self-concept to others (Babin, et al., 2017), especially in high involvement consumption situations (Ahuvia, 2005). Method Sample Instagram and YouTube data were collected using Netlytic (Gruzd, 2016) for the period May 14 – June 24, 2015 for the purpose of capturing data before and after the official release of the film (May 18, 2015). A total of 8,986 records (uncleansed) are in the Instagram (#SecretGarden4 and @Dior) database and 426 records (uncleansed) in the YouTube database. Multiple URLs were used for YouTube because there were four previews, and short and long versions of the film. Procedures The data was cleansed (236 YouTube posts; 6,763 Instagram posts). To measure sentiment and engagement, a text analysis was performed using an adaptation of Dann’s Twitter (2010) classification. Through a grounded theory approach (Lai & To, 2015) key words, concepts and themes were identified and triangulated using Tableau, NVivo 11, and Leximancer software programs. Concluding Remarks As a multi-year campaign, Dior’s Secret Garden was meticulously crafted to project an understanding of Dior’s brand image and to create an air of anticipation for consumers. Within the context of digital storytelling we delve deeply into how the last installment of this campaign resonated with consumers who watched the film on social media and responded to Dior’s Instagram initiatives. Through our mixed methods research approach, we develop theoretical and methodological contributions that benefit academics and fashion marketers.

This paper examines the effects of student-centered collaborative project programs using digital media for the EFL university students. To compare the effectiveness of a digital storytelling project program (127 students) and a topic-research presentation program (126 students) we used pre- and post-TOEIC English speaking tests. We also administrated a survey on students’ attitude towards their learning, interviewed students and observed the programs. The results showed that there was a significant improvement of the students’ English speaking ability in the two programs. The score of the topic-research presentation program improved more than that of the digital storytelling program. However, the students in the digital storytelling program were more motivated to engage in the collaborative project than those of topic-research presentation program in terms of interest and participation. Based on the results of the two programs, this paper suggests the educational implications for those who want to develop and implement collaborative projects using digital media for the EFL university students.

This research was a Research and Development (R&D) project which aimed at developing digital storytelling based local wisdom through Blended Learning as an innovative media for teaching English at eighth grade students of SMP Negeri 1 Petang. The development model used in this research was adapted from the development of Luther’s model (in Sutopo, 2003). The data were collected by using documentation technique, interview, observation, and questionnaire. This research found that, (1) in developing digital storytelling based local wisdom through a Blended Learning method required a number of chronologically steps, namely: observation, need analysis, media prototype design, expert judgment, revision of the product, field testing, analyzing of data and finalizing the final product; (2) the total mean score of the questionnaire filled by the English teacher was 4.09, it indicated that the product was categorized as excellent, and (3) furthermore, the result of the questionnaire filled by the students was 3.76, this meant that the implementation of the product could be categorized as good. The results of this study were as expected and can help both the teachers and the students in the process of teaching and learning English, especially narrative text.

Maximizing students’ ability and potential in the teaching learning process will likely be the goal of a teacher. This will give the chance for the students to employ all the skills and knowledge they have obtained throughout the learning process. One-way for utilizing this idea is by implementing a particular method called digital storytelling. This paper tries to investigate the impact of integrating technology in students’ learning process - especially English - using existing technology. It also investigates what the students get from the implementation of digital storytelling in their learning. This employs a survey method to gather the information from students before the implementation of digital storytelling. It involves 15 students taking English for Specific Purposes at the Faculty of Information Technology, Satya Wacana Christian University Salatiga. It employs practical implementation of digital storytelling to answer the two objectives set previously. The students involved in the study reported that it was a good way of implementing all the skills they had learned during the class. They needed to employ their reading, speaking, and writing skills to carry out their project. They mentioned that it improved their productive skills in English and gave them opportunities to explore and try new applications in producing the intended video. This method is a simple way of integrating technology into classroom activity that can maximize students’ possible potential to develop. This also gives them a sense of enjoyment and satisfaction as they have their end product that they can refer to at any time

오늘날 문화콘텐츠를 활용한 많은 문화산업의 부가가치 창출 사례를 볼 때 문화콘텐츠와 디지털 스토리텔링의 중 요성은 높아지고 있다. 우리나라의 문화콘텐츠에 대한 OSMU의 가능성을 높이기 위해서는 OSMU가 잘 이루어지고 있 는 다른 나라의 사례 분석을 통해 적절한 활용 방안을 마련해야 한다. 본 논문에서는 게임의 세계관에 많이 활용되는 북유럽 신화와 신화를 반영한 컴퓨터게임 ‘RING'의 분석을 통해 우리나라 문화콘텐츠의 발전가능성을 모색해보고자 한다.

본 연구의 목적은 디지털스토리텔링을 적용한 한국어교육 상황에서 여성결혼이민자의 스토리 생성과정에 나타나는 상황학습을 탐색하는 것이다. 이를 위하여 여성결혼이민자 2명의 참여자와 교사가 한국어를 학습하고 디지털스토리를 생성해 나가는 수업을 연구 사례로 보고 각 사례의 고유성을 이해하고 공통점 및 상이점을 살펴보고자 참여 관찰을 통한 질적 사례연구를 수행하였다. 자료 수집은 사전 설문지, 전사자료 및 학습활동 산출물, 학습자 면담을 포함하며, 분석적 귀납법에 따라 반복 분석 및 상황학습이론 고찰을 병행하여 스토리생성과정을 도출하였다. 본 연구는 삼각측정법, 조사자 위치기술, 참고자료 등을 통해 신뢰성을 확보하였다. 연구결과 상황학습 기반 디지털스토리텔링 환경에서 교사와 학습자는 스토리구술 및 디지털화를 위하여, 학습자 삶의 경험ㆍ생각ㆍ언어지식 등을 공유함으로써 상황적 지식이 보다 명료화되어가는 스토리생성과정을 살펴볼 수 있었다. 즉 학습자의 경험과 생각, 의미, 선행지식, 학습내용, 실생활 등이 디지털스토리텔링 활동 안에서 유기적으로 연결ㆍ확장됨으로써 상황학습이 이루어졌다. 제2언어 학습자의 스토리가 제2언어로 구술되고 디지털스토리로 재생성 되는 학습과정 이해를 통하여 상황학습을 위한 디지털스토 리텔링 학습 설계와 상황학습의 이해에 시사점을 줄 수 있을 것으로 기대한다.

컴퓨터를 매개로 한 인간 경험의 패러다임은 ‘문화 인터페이스’에서 ‘문화 소프트웨어’로 옮겨 가고 있다. 디지털 게임에서 이러한 패러다임이 변화는 모드를 통해 나타난다. 지금까지 디지털 게임의 플레이는 게임이 제시하는 ‘목표’를 달성하기 위한 과정에서의 몰입적 에이전시를 중시 했다. 반면 모드를 통해 사용자는 게임이 제시하는 목표보다는 사용자 스스로 게임 세계 안에 서 ‘문제’를 만들어내고 그것을 해결해나가는 과정에서의 생성적 에이전시가 중시된다. 모드를 통해 원작 게임은 하나의 경험해야 할 작품이 아니라, 변형하고 하고 새로운 콘텐츠를 생성할 수 있는 질료로서 데이터가 된다. 사용자의 모드를 통한 이러한 게임 콘텐츠의 변형과 생성은 게임의 지속가능한 모델을 제시한다.

본 논문은 이동이 편리한 간이형 어린이 인형극장 장치에 관한 것으로, 조립식 인형극 세트의 입체화와 디지털 구연동화 출력매체의 접목을 통하여 어린이들을 위한 시청각 교재로서의 흥미도 증진과 함께 인형극 내용의 반복 통일성을 원만하게 유지할 수 있으며 나아가 휴대가 간편한 조립식 인형극 세트를 제공하는 것을 목적으로 가정이나 유아원 또는 유치원에서 손쉽게 인형극 세트를 설치할 수 있어 장소에 구애됨이 없이 어린이들의 학습효과를 증진시킬 수 있는 특징적인 효과를 가진 이러한 본 논문의 연구는 한정된 공간과 제한된 수요층을 대상으로 하던 기존의 인형극 무대장치에 대한 문제점을 해소하고 인형극을 대중에게 보급시키는데 필요한 여러 가지 장점들을 만들어 냈다. 향 후, 본 논문의 연구를 토대로 인형극의 무대장치, 인형, 배경, 음성 장치 등에 대한 여러 가지 측면에서의 다각적인 연구들이 이어져 어린이들은 물론 많은 대중들에게 조금 더 다양한 볼거리들을 제공할 수 있는 인형극들이 많이 만들어지길 바란다.