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Digital Storytelling
Digital Storytelling is a powerful form of media expression that enables individuals and communities to reclaim their personal cultures and stories while exploring their artistic creativity.
The Australian Centre for the Moving Image (ACMI) is Australia’s premier engine for screen and digital culture industries and assists in the creation and recording of hundreds of stories by individuals, community groups and organisations through its respected Digital Storytelling program, and ensures public access to the stories through exhibition.
Recording these stories has ensured many vital individual and community memories are preserved. The digital stories provide a personal voice that gives 'life' to issues that are often hard to personalise.
The ACMI Digital Storytelling program reflects its philosophy of drawing people closer to the moving image in all its forms and to foster interaction, understanding and a personal connection.
Film - Digital storytelling at ACMI, ACMI Digital Storytelling
Courtesy of Australian Centre for the Moving Image
Film - Digital storytelling at ACMI, ACMI Digital Storytelling
- ACMI is the new cultural institution dedicated to the moving image in all its forms, and in a way, it was important for the centre to understand that people relate and consume media very differently. So if they're going to build a cultural institution around the moving image, we had to acknowledge that people were using media as a way to tell their own stories. And in a way, Digital Storytelling became a program that we could take on board as a way to engage public in the art of the moving image.
[MUSIC PLAYING]
ADAM NUDELMAN: My pappy was a shoemaker. He was kind, gentle, but quiet. Except for work, he lived a frugal existence, in almost complete isolation and squalor. As far as I know, we were the only visitors to set foot inside their house. We only ever entered the back kitchen area. All the other rooms remained a complete mystery.
- We have conducted the Digital Storytelling program since the centre opened in 2002, and in that time, we've worked with very diverse communities to tell their stories. The Digital Storytelling program is normally conducted as a three day workshop, in which case we spend time with people to distill and tell meaningful stories from their lives.
[MUSIC PLAYING]
With the stories that are created here at ACMI, we exhibit them as part of the larger Digital Storytelling program. And in a way, that becomes a very important part to sort of sanction or legitimize, if you like, these very diverse stories by screening them in a cultural institution.
STEPHEN PASCOE: My sister and I were scared that soon he would be gone, and with him, a lifetime of stories. One day soon after, we went to our grandparents' place. Jidi was nervous and agitated. "So what do you want to ask me, anyway?" he said.
- The workshop itself is incredibly transformative. It's transformative on a whole lot of levels for the individuals that are involved. And for many of those individuals, they come with also community groups and advocacy organizations that support them to come to the program. And that content in itself becomes really the personal stories for an organization itself.
INTERPRETER: There is no deaf school in the country, so I leave my family for school in Melbourne. I am only three.
- So Digital Storytelling has become that program. It allows the public to tell their own stories in their own voice. And in a way, through our exhibition of those stories, they can own what is part of the Australian Centre for the Moving Image.
So it really shifts the balance between a traditional cultural institution that really takes on public as a passive consumer. In this way, programs like Digital Storytelling allows ACMI to engage in partnerships with public to make their stories and to have-- to make sure that they tell their stories, and that that is part of a cultural institution.
[MUSIC PLAYING]
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Short introduction about ACMI's Digital Storytelling Program.
Film - How Do We Tell Our Stories?, ACMI Digital Storytelling
Courtesy of Australian Centre for the Moving Image
Film - How Do We Tell Our Stories?, ACMI Digital Storytelling
HELEN SIMONDSON: Facilitators of the digital storytelling program need really broad skills. They need to know how to teach the technology to help people. Many have had no experience putting moving image memories together. They need to have a really strong breadth of knowledge around narrative, to help people find their own voice and find a star for this story.
They need to know how to help them visualize the story. In many cases, people bring their own photos together, but the transformative part of that is how they fill in the gaps where they're missing photos, or how they extend that visual idea. But most importantly, the digital storytelling facilitators need to really be to listen to not only hear the story as a storyteller tells it, but to hear the back story to that, to hear the nervousness, the concerns, the emotional quality of the person, to really be able to support them, to tell what is often very potent and emotional stories from their memory.
BRIDGET ROBERTSON (VOICEOVER): The phone started ringing at 5:00 AM. I'd been out the night before. I finally woke up at 10:00, and I answered the phone. Two cars were following the motor bike. It was Easter Thursday evening. They were all going away for the weekend. The motor bike changed lanes. It didn't see the truck.
- The story circle is the most important part of the workshop. It is the first time that people really commit to their stories. It's also the place where, as a workshop, as a group, people really connect with each other, and they really get to share their stories. And that can really solidify the workshop, and it really makes it work well throughout the rest of the process.
People shouldn't feel nervous at all about coming to a workshop when it comes to technology. We will help them gain concepts in all the different software that we use, as well as help them just generally get an experience of using digital technology, and using the computers, using the different kinds of softwares.
Everyone that comes to a workshop will make a story, and every story will get completed. In fact, I can't think of any workshops where we have not completed a story. The programme that I run, we use simple software tools so that I try very much to just focus on what I know teachers already have in their classrooms, and the programs that students will be able to learn to use very easily. I think that digital storytelling has a great application for all ages. It's something that works really well in a primary classroom, and it works equally well in a secondary and in a tertiary setting.
It's got a lot of possibility, I think, for teachers to use across the curriculum in all sorts of ways. But the most important thing about it is that because it's using what we call multimodal tools, that we are encouraging students to really be creative about the way they're expressing themselves. So it's not just using words, but it's by choice of images, and what you do with the images, and it's pacing of the story. All of those sorts of things are very, very powerful learning tools that will carry a student across all areas of the curriculum.
- I think people aren't sure what to expect from a workshop, but they might want to leave a tribute to a family member, or they might want to tell something about themselves for historical reasons. What they do in the workshop though is often find something more personal and some probing of their memory into their emotional past. And it's a process that can be very beneficial. They also get to create something entertaining for an audience.
BRIDGET ROBERTSON (VOICEOVER): 35 years later, our boys still haven't had those violin lessons. But we've had the fluffy lambs and the sort of candlelit dinners. We've even had the exotic holidays. So now, it's time to get on with the next 35 years with you.
- So much of our work is really about prompting, about working with people, about finding where the story is, returning to the story, understanding a broader view of how we might view a memory, and supporting people to revisit what can be often very emotional ideas, or concepts, or times, or events in their lives.
- Look, the best part of the workshop is at the end, when we screen the stories. It's fantastic watching the stories. It's also really fantastic watching the participants and how happy and emotional they get when they see their stories finished.
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A look at how the Digital storytelling trainers facilitate the workshops.
Film - The ACMI Digital Storytelling Workshop, ACMI Digital Storytelling
Courtesy of Australian Centre for the Moving Image
Film - The ACMI Digital Storytelling Workshop, ACMI Digital Storytelling
LIONEL (VOICEOVER): Knowing that I was doing a workshop, thinking of different ideas and thinking of myself, it's a bit hard. And it was driving me crazy . Then I started thinking about home up in Queensland, and up there. And I was thinking, well, I come from a beautiful place up there, and I thought, so I jotting down thought points of what's so good about my place up in Queensland on Fraser Island. And as I was starting to put those dot points together, then I started forming a little script. It was a rough draft, but it turned out to be a really good draft though.
LIONEL (NARRATING): 21 years of my life, I have lived in one place that tortures me. A place that has so many demons, so many troubles, so many problems. It makes you wonder, why am I still here? That place is Melbourne, a steel concrete jungle. 21 years breathing, living, eating, learning, teaching, gatherings. To me, Hell.
LIONEL (VOICEOVER): In terms of using images or footage for the doco. I've got a lot of photos of Fraser Island, but sadly they weren't here in Melbourne with me, but I just got on the phone and rang up the auntie up in Hervey Bay and she happily was able to email a few photos down to me, which was great. So I can use that for my little short story.
The positive thing about the story circle was that you're telling the story to these other people, but also getting feedback, which was really good. And you listen to other people's stories, getting other ideas. And then go back to the drawing board in terms of how you want to rewrite your script in terms of how you want to structure your script as well.
After the story circle, we jumped on the computer and started typing our scripts. And there was another interesting too. Trying to type it down in a minimal of 300 words. And it was really great, because I'm not an expert writer or scriptwriter and all that. So it was great to have that extra hand aboard, helping me how to really structure the script. How to start from the start, and into the middle of it, and then how to finish off the script.
LIONEL (NARRATING): McKinsey listens to my troubles. Makes me feel good about myself. I had much more pride, knowing where my blood is from.
LIONEL (VOICEOVER): In terms of actually changing the script, it did change, but it changed for the better of it I believe, because it's short, it's sweet and it got a lot of information out of there, which was really good.
And once we got the photos all together, we scan them and upload them on the computer, so we can use them for our short story.
You want to tell your story in pictures. You want people to feel what you're feeling. And that's the importance of doing storyboards, so you know where to pinpoint your particular images or footages.
So of course you're recording your voice and going into the recording booth and start reading out your script. At start, it was a bit of nerves, and all that, a bit shaken up. But once you get into it, you get all-- you'll start listening up and being getting used to it. And then you're on full sail. You know what you want say, and great.
We got the video camera, we went down the banks of the Yarra and making out that we're in Fraser Island, making that we're in the bush, but obviously we're just down the Birrarung Marr down there.
The editing process was, of course, a major part of the process of doing a short story. Doing, of course, your fade-ins and cross-outs of where you want your voice to be in the story and all that. It was difficult because I'm not a film expert or editing expert, but knowing the help that I got, I felt like Steven Spielberg.
It came to the last part, of course, showing everybody's story, the final process. Seeing it on the big screen, it was great. A lot of tears, a lot of laughs. And that's the beauty about it. Showing these digital short stories. It was great. I loved it every minute of it, and I hope to do more. It was just an amazing experience.
LIONEL (NARRATING): So I bet you're wondering why am I still in Melbourne? I grew up there. I have family and friends there. I work there. I can't leave Melbourne. It made me who I am today. And I can't take that back. But one thing's for sure is Fraser is my heart, my bunker, and my island home.
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A look at how individual digital stories are created.
Film - Organisational storytellers: Bushfire stories, ACMI Digital Storytelling
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Film - Organisational storytellers: Bushfire stories, ACMI Digital Storytelling
- It started initially for me about, wouldn't it be a good idea for the people from the bushfire affected communities to tell their stories in terms of their healing and in terms of, I suppose, creating a dialogue and discussion in the broader community about the bushfires and the very personal effect. And having seen some of the stories before from another project, I thought that this would be a good medium.
- My story was about my experience of the day when the Coopers Creek fires raged out of control in Cowwarr in 2006. And some of my emotions, some of my feelings, and some of the things that happened to me on that day, and be able to share that story with my family and others.
GARRY HAMMER (VOICEOVER): Unknown to me, on separate occasions, each with tears in their eyes, my son Tom and my dad went inside just to hug Deanne and reassure her, and perhaps themselves, we're going to be all right.
DAVID GUY (VOICEOVER): Well, there's a lot of trauma associated with the fire. You've been in such a heightened state of anxiety, that it does affect your mental health. We really want to get people back to their state of functioning that they were in prior to the fires.
- And for the first day, we were able to sit around in a really supported way. Be able to all elaborate and tell our stories in full and be supported and listen to everybody else's story. And I guess be able to compare our stories.
GARRY HAMMER (VOICEOVER): I spent the whole time patrolling around and around, watching the perimeter of the house calling out instructions. Stick together! Don't get caught too far from the house! The house is what we stayed for, not everything else.
- I thought that the digital storytelling approach was very innovative, in terms of it allowed people to tell a very personal story about their experience and share that with the broader community. And they would view this at some point, as we screen it throughout Gippsland region, and they'll reflect upon their own experiences. You can engage with the story, start thinking about well, what did it mean to me?
It's been a great partnership between the community and the city and ACMI. So that's been good. It's brought us all a little closer together. And it was a hell of a lot of fun, I think, which is really important.
- Yeah, there's no way we could be able to tell this story in such an emotional and powerful way and capture it for all time. I could say to them many time, thank you. I could write them letters, I could give them cards, I could buy them presents. But it's just not the same. This way I can share that emotional experience in the most powerful way possible.
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This video takes a look at the genesis of the Bushfire stories for the Digital storytelling workshop.
Film - Organisational storytellers: Western chances, ACMI Digital Storytelling
Courtesy of Australian Centre for the Moving Image
Film - Organisational storytellers: Western chances, ACMI Digital Storytelling
- Western Chances is at its core, a scholarship organisation. We offer chances to young people in the form of scholarships. We also offer opportunities to young people more broadly in the west through brokering with organisations like ACMI to take to them opportunities and give them opportunities they may not otherwise have, and that's where ACMI really fits in.
ESTEBAN GUERRERO (VOICEOVER): La Patria o La Tuma is a line in the Uruguayan anthem. It means the homeland or the tomb.
- Digital story is a little piece of your life or a story that you want to tell, something that you feel is important to tell.
ESTEBAN GUERRERO (VOICEOVER): They built a big network of friends and enjoyed life with the family. I was five when I went to Uruguay. My father decided it was possibly the last opportunity to see my abuelo.
- There is obviously a great need for a lot of these young people to tell that story. Even though it's hard, and even though quite often, in the public screenings, they have never told that story to anyone else, or they're actually in tears when they're watching it because it really is close to the bone. They're actually happy to tell it, and it seems to give them an outlet to tell a story, or express something that they haven't been up to express in any other way.
- It's a story of my family in their time, when they're living in Uruguay, when there were socialists. And there was a huge crack down on socialism.
ESTEBAN GUERRERO (VOICEOVER): They'll be sent to camps or would just go missing. With the new military regime, Uruguay was indeed dead to my parents, so they fled for Australia in 1974. Mom was 21, dad was 32.
- Five or six weeks after the digital story workshops, we have a public viewing, and the young people can invite whoever they like. And we have our sponsors come. We have staff from the schools come. The young people invite friends and family. We now have been doing this. This will be our third year, so we've now built up our own collection and our own library of probably about 60 stories, and we add probably about 26 or 27 stories every year. So we're building up a very large body of work now.
- I don't think I'll be able to do this on my own. I think that it just furthered me in a direction where I'd normally wouldn't have gone.
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A look at the Western Chances digital storytelling project.
Film - Organisational storytellers: Alzheimer's Association, ACMI Digital Storytelling
Courtesy of Australian Centre for the Moving Image
Film - Organisational storytellers: Alzheimer's Association, ACMI Digital Storytelling
[MUSIC PLAYING] -When we came in here to do it, I wrote a script for him because I wasn't sure how he could express himself. Because he was going away from me pretty quickly.
MAX OLIVER (NARRATING): The reason for creating this brief snapshot of my life is I'm very proud of your achievement individually. And I hope your future will be bright. I would like to think that there will still be more of those happy times to come.
-cAs a counselor, I might sit with somebody and talk to them about what's happening and the impact of the dementia. But we never capture that on film or on audio. In lots of ways, it's lost to the broader public.
NOEL MARGARET OLIVER (NARRATING): It was during this time that poor Grandpa started to have trouble with his memory. In 1999 our doctor said that Grandpa should see a specialist. But it just got worse. This must have been difficult for you and Emily because you didn't understand what was happening to Grandpa. The diagnosis was Alzheimer's.
- The participants said to me after, when it was all finished and they had the production of the digital story, that it really enabled them to one, go into their photo albums and to more clearly think about what sorts of things their family member had achieved in their life. I guess the sorts of things they were really proud of, the shared memories that they had. So it actually provided an opportunity to reflect together about the experiences that they'd had in life, and then capture that in the digital story format.
PATTY HODDER (NARRATING): The relentless loss of physical independence and mental competence is devastating. And yet he remains optimistic. He is dealing with his disease, relying on the qualities he has used throughout his life to achieve and overcome difficulties.
- So we read the stories. Well, that was very, very emotional as we read these. I could barely read it, even though it was only a four-minute grab.
And I remember reading it through, and I got to the end and the tears were streaming down my face. And Robin looked at me and recognised that I was upset. And I remember him putting his arms round me and saying, "It's all right, darling. It's all right." [LAUGHS]
- I thought it was terrific. [LAUGHS] Because I thought it was a sort of almost a catharsis. Because here I am, helping him to say how he felt, for him to express it in his own words, which was difficult for him. And it was a way of communicating with other people.
MAX OLIVER (NARRATING): I was able to fulfill a dream of mine, and that was to be able to fly an airplane. An achievement that I'm really proud of because I never, ever got lost.
NOEL MARGARET OLIVER (NARRATING): [LAUGHS]
BRUCE PERHAM (NARRATING): People fed back to me just what a wonderful experience it was and how unique it was and how they valued it, really valued it. And I think with ACMI being able to provide the technical expertise, we couldn't have done it without that.
- And they had an international conference here. And they used our DVD to open the conference. And we're sitting in the theater with about 500 people and the lights went down, and on came Max. And he's like, "That's me!" [LAUGHS]
[MUSIC PLAYING]
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This video takes a look at the Alzheimer's Association Digital storytelling project.
Film - Individual storytellers: Agnes Karlik, ACMI Digital Storytelling
Courtesy of Australian Centre for the Moving Image
Film - Individual storytellers: Agnes Karlik, ACMI Digital Storytelling
The title is the story of a film maker, and it is about my father. I came with him out to Australia. The ship Anna Salen arrived in Fremantle on the 31st of December, 1950. My father and I, amongst the 1,522 passengers. My father made a film of our journey. He was a filmmaker, a cameraman, and I thought it would be something for the family to remember by being told how it happened that we landed up here in Australia.
We escaped Communist Hungary for Vienna, leaving behind my mother and two sisters. For me to be able to represent him and also, our family to see, my sister is in Hungary. And I sent it to her. It was an experience for her to see all this. It was such a good feeling, I could do it for not only our family, but perhaps, for the history of our land.
We moved on quickly to Perth, searching for a place to develop my father's film. He heard of a lab in Melbourne. The lab, Hershs Films, offered my father a job, so Melbourne became a new home. I was lucky that I had so much support and help. And once I got into it, I really enjoyed it. I think he would have been very proud. He didn't have a son, and I was always brought up to take over his establishment.
And because of that, I think he would have thought, well, good on you. At least you could do that much.
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Agnes Karlik talks about her Digital storytelling project, The Story of an Immigrant Filmmaker.
Film - Individual storytellers: David Tytherleigh, ACMI Digital Storytelling
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Film - Individual storytellers: David Tytherleigh, ACMI Digital Storytelling
- I moved into Richmond, and he was the little man that lived in the house opposite. We'd see him in the afternoons coming out onto his porch, and that was it, basically. And he started to sort of trust me, or tell stories.
Roger was my neighbour. He lived across the road in a dilapidated weatherboard cottage surrounded by an overgrown garden. Everyday, he would stand by his front gate, and watch the passing traffic, and occasionally engage in a conversation with a passer-by.
And after Roger died in 2002, I'd collected bits and pieces. My photographs of Roger in nursing homes, and I have his passport. All these old photographs of Roger that I collected that were just in a box. And I wanted to put something together, piece something-- a story about him.
Roger carried in his jacket pocket a small photo of his father, given to him by his grandmother in later life. Declared an orphan of war by the French government, Roger, age 12, began working as a pastry cook, and in 1939, prior to the outbreak of war, was called up into the Army Reserve. He was captured by the Germans in 1940 and spent the next four years as a prisoner of war, escaping three times but always recaptured.
I think anyone could do a digital story. It's very hard to put someone's life into three minutes, but as a medium, I think it was a great medium.
On Sundays, I would visit him, and we would sit and play cards, listen to Edith Piaf sing, and eat little colored marshmallows. Sometimes we just sat in silence and held hands.
His life-- his life has been recorded, and he did exist, and people have got to hear about him. And I feel that if someone sees the story and then they see an aged neighbor or someone down the street, and they just take the time and get to know that person, that they might hear their stories. And I think it's very important for elderly people to be recorded.
I feel that as a community, we let Roger down, that the service that he had given in his younger life was not returned to him in his later years. He had stories to tell and share. This is his.
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David Tytherleigh talks about the inspiration behind his Digital storytelling project - The Little Frenchman.
Film - Individual storytellers: Tim Kanoa, ACMI Digital Storytelling
Courtesy of Australian Centre for the Moving Image
Film - Individual storytellers: Tim Kanoa, ACMI Digital Storytelling
- I just took part in a three day workshop with ACMI at the Koorie Heritage Trust, and we had about ten guys in there who all had different stories.
My life so far has been a life of learning, living, culture, and fun. I express my culture through dance, and I have done so for many years. When I'm on stage dancing, I feel a great sense of pride.
My story was just about-- basically the title of it's called "Life and Learning." I just really talked about different aspects of my life, which is culture, and fun, and family, and all that top stuff.
Moving out of home at the age of 16 was not a wise decision, but it was the only option I had at the time.
The thing about these digital stories that I've seen is all honest. Honesty is the key, I believe, and to get a message across, you have to be honest. For people to understand your story, you have to tell 'em, you know, basically where you're coming from and what you've done.
I failed year 11 and dropped out. I had time to think and make the choice to go back. It was the only way I was going to get anywhere in life.
Especially in indigenous culture, we talk about oral history, which is where I used to be working-- in oral history, you know, the Koorie Heritage Trust-- and one of their main goals was to maintain all this oral history of elders around Victoria. Digital stories is another great way of keeping that and maintaining that tradition.
Learning for me is a major part of my life. You actually do learn something every day.
I show it all the time. Every time somebody new comes into my house, I put it on. I'm proud of my story, and I'm really proud to show it to people, especially my family, and especially when they see their photo in my life, when they know that they're a part of my life.
And I know that's one of the important things because when I'm gone, my grandkids, and nieces, and nephews will see that, and they'll be still passing that story around.
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