I was amazed at how quickly I was able to put this DS106 Assignment Bank project together. With all the movie audio, including songs and some soundbites, is available on a CD, it makes things much easier. This was a favorite soundtrack to listen to back in 1995. In Madison, a person could hear “Son of a Preacher Man” playing in every other bar on State Street. One of my favorite films. I’m still waiting to go to Paris to get a “Royale With Cheese” !
Author: Mark Hahm
Weekly Reflection #3 – Audio File
For a change of pace, I decided to make an audio reflection using my Snowflake microphone, Garage Band and SoundCloud. The Mark Twain image is in the public domain (taken by photographer A.F. Bradley in his studio) on Wikipedia. The image ties into the Lambert chapter and, in a way, to my critique of a StoryCenter video I completed this past week. Just wish I didn’t use so many “ahs” and “ums” in my recording, but I wanted to talk in an informal manner.
Chapter Critique – “The Work of Story”
Most of the time, change is good. For our Learning with Digital Stories class (INTE5340), we were given the option of critiquing a different reading from the book Digital Storytelling: Capturing Lives, Creating Community. The author is Joe Lambert, who founded the Center For Digital Storytelling in 1994. The organization’s website, StoryCenter, showcases a variety of digital stories that include themes such as health, family, education and social justice. I’ve already critiqued a couple of these videos on my blog. After reading this chapter, I felt like I was having an “Ah Ha!” moment in realizing the purpose of humans to tell stories.
This first chapter, entitled “The Work of Story”, explored an interesting explanation on the origins of storytelling. From Lambert’s point of view, much of it has to do with human survival and endurance. I found this significant since a major focal theme I am concentrating on in this class is adversity. Lambert nicely explains that:
“The memories associated with our most important life lessons are inevitably those with either strong emotional encoding at the moment, as in traumas or events involving those close to us” (p.8).
After reading this sentence, I thought about not only the pivotal moments in my life, but also those moments in history that other people have witnessed and felt compelled to report to the rest of humanity. The Nazi Holocaust is a perfect example. Under the cover of war, millions of innocent civilians were systematically executed while the German people never suspected a thing under the Nazi propaganda system. It wasn’t until years after World War II ended, when people began listening to the growing number of stories from the survivors, did the public become more aware of the horrific slaughter.
Lambert also discusses how 20th century popular culture tapped into myths to help explore a industrial age society that was feeling dislocated as people were moving from the country to the city. For example, he cites how the Western genre of film “showed us how to bring frontier ethics into our chaotic urban experience, mapping the pastoral ideal of self-sufficiency and family integrity onto a suburban ideal of the single family dwelling” (p.9). Director John Ford was masterful in this genre with films such as Stagecoach, The Searchers and The Man Who Shot Liberty Valance. The author’s ideas of storytelling in American cinema got me thinking about another classic film: Jaws.
In the middle of the movie, the three main characters discus the origins of their tattoos. Hooper (Richard Dreyfuss) asks the boat captain Quint (Robert Shaw) about an old tattoo on his arm. Quint tells Hooper it’s the name of a U.S. Navy ship he served on during World War II: The U.S.S. Indianapolis. Prodded on by local sheriff Brodie (Roy Scheider), Quint tells the tale of how he survived a massive shark attack after the U.S.S. Indianapolis was torpedo by a Japanese submarine. It’s one of the most memorable moments in film history, but when reading this chapter, the scene got me thinking about Lambert’s idea of storytelling.
In reality, those actual crew members from the U.S.S. Indianapolis who survived that horrific ordeal felt a need to tell that story years later for several reasons. First, because they were on a top-secret mission to deliver the atomic bomb to be dropped on Hiroshima, they could not discuss what happened for many years. Secondly, there reached a point after the end of World War II that people didn’t want to hear “war stories”, especially ones that ended in disaster. Due to the fact that for many years, even decades, had passed before the truth could finally be told about the U.S.S. Indianapolis, it was up to survivors to keep the story alive so that others would understand the many sacrifices made by soldiers, sailors and airmen in harm’s way. These such stories need to be told for the benefit of future generations. Lambert mentions the importance of storytelling when he adds, “Story… works biologically to insure the total recall of those events which define we have ingrained as of greatest emotional importance to us” (p.8).
I’m looking forward to the next reading from Joe Lambert’s book.
CARP or CRAP? Either Way, It’s Important To Graphic Design
After three semesters into the Information and Learning Technologies graduate program at UC-Denver, I’ve come to realize that a field such as this requires a person to think like a project manager, an instructional designer, and a graphic artist. Of these different occupations, I always presumed I knew most on how to be a graphic designer due to my creative background in television production. Alas, I didn’t know crap. Or more specifically, I did not know CARP!
Regardless of the order of the words, I’ve come to realize the importance of the principles of contrast, alignment, repetition and proximity. In my previous Creative Design for Instructional Materials class (INTE6710), we discussed many key design principles, including CARP. Now, in my Webinars and Synchronous Learning class (INTE5670), I’m starting to get a better picture (pun intended!) on the importance of CARP in a live online presentation. It’s important for an audience to get a clear idea on learning objectives and relevant examples to use skills in the real world. If the learner becomes distracted by elements such as too many colors, inconsistent text alignment or sporadic content placement, that educational opportunity will be lost. This is something I may have overlooked when I developed an eLearning module in Adobe Captivate last semester. Hopefully, I can learn from my mistakes and build a better webinar that engages my learning audience.
Digital Critique #5: “To Be or Not To Be”
The experience of adversity can come from different cultural perspectives at various times in history. From StoryCenter comes a tale from Alan Fong entitled, “To Be or Not To Be.” It tells the perspective of an Asian-American conscientious objector during the Vietnam War era. The video was posted in April 2013. For this analysis, I chose to judge the digital story on the following evaluation traits:
- Story – Fong has a very clear voice that guides the viewer through the series of images. Most of the historical stills give the viewer a sense of the students discontent at the University of California-Berkley during that time. Fong includes images of Asian-American students, protest buttons, and also archival footage of Chinese railroad workers and Japanese internment camps to give the viewer his cultural perspective. One thing I wished to hear, however, was what Fong is doing today. Perhaps seeing a present-day picture of him in Berkley.
- Project planning – Fong does a fair job of presenting the narration and images in chronological order. Much of the emphasis was on his time at UC-Berkley in the 1960s and 70s, but he refers back to Asian-American history from the 19th and mid-20th century closer to the end. It feels a bit out of order, but I can understand the logic. If a digital storytelling creates the narration first, then the visuals will compliment the audio.
- Citations & permission – Fong cites the Ike & Tina Turner music playing in the background, but he fails to credit the historical images he included. Even if this project is purely for educational purposes with public domain material, a storyteller must properly give credit to content creators like newspaper photographers, magazine artists and historical archive collections.
On a side note, I was hoping that Fong would have made a greater effort to personalize this story about Asian-American history. He could have included pictures of himself or his family to give some more context. I enjoy tales of cultural adversity like this, but I wish Fong could talked a little more from the heart.
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