Purpose: This study aims to seek to demonstrate how explicit teaching of SFL metalinguistic and multimodal "grammars" enhanced 8-9-year-old children's deeper understanding and production of multimodal texts through critique of the construction of mini-documentaries about animals: the information, language of narration, composition of…

This chapter centres co-creative scriptwriting and the intellectual and aesthetic labour of two research practitioners as a means to explore digital storytelling as a form of engaged scholarship. It draws from research with asylum seekers and refugees in Ireland that advanced a longitudinal (four years) and inquiry-based approach to digital…

How to make written narrations informal and conversational in style. (Author)

Suggests American screenwriters experiment with the lighting, colors, perspectives, angles, and positioning of images in works of art to generate narrative. Argues that American screenwriters, unlike European counterparts, unnecessarily adhere to the concept that characterization is essential to generate narrative. (KEH)

Explains structure and its relevance for both the practice and teaching of screenwriting. (PD)

Examines six common problems that can interfere with the effectiveness of multimedia information delivery when combining narrated words and still images, including pictures not translating well to the screen; more information than the screen can display; distracting elements; contradicting messages; not enough pictures; and script difficulties.…

The staged performance of oral history narratives scripted by interpreters/ethnographers has significant potential for instigating social change. Recent articles by Dwight Conquergood and Kristin Langellier provide the basis for merging ethnography, oral history and social action projects. Narratives from a 1984 farm crisis project illustrate this…

Drawing its materials from any genre, a Readers Theater differs from the usual theatrical presentation in that its action takes place in the reader's mind and is then projected to the audience. The one requirement for "production" is the reader or a group of readers--a stage is unnecessary. On a simple level, it emphasizes placement of readers,…

A study investigated the effects of presentation mode and type of content on young children's recall of nouns in a scripted narrative. Forty-nine children in the second month of first grade were presented a fictional narrative in which were embedded 18 target nouns classified as high-scripted, medium-scripted, or low-scripted. Subjects then viewed…

Explores the concept of "theater of the mind" and discusses design factors in creating audio works that effectively stimulate mental pictures, including: narrative format in audio scripting; qualities of voice; use of concrete language; music; noise versus silence; and the creation of the illusion of space using monaural, stereophonic,…

Proposes a framework for writing and evaluating scripts for narrative educational television that is aimed at producers and screenwriters and addresses essential elements of effective educational program design. Motivational factors are discussed, the target audience is considered, educational objectives are described, and examples from the Open…

Explains production techniques involved in making student documentaries on video. Highlights include student research; script writing; narration; the use of interviews; incorporating visual materials such as maps and photographs; camera techniques; demonstrations; editing; and time limits. (Contains six references.) (LRW)