Digital Narratives
Code: 43963 ECTS Credits: 6| Degree | Type | Year |
|---|---|---|
| 4316493 Journalism and Digital Content Innovation | OB | 0 |
Contact
- Name:
- Maria Rosario Lacalle Zalduendo
- Email:
- rosario.lacalle@uab.cat
Teachers
- Jesús Martínez Fernández
Teaching groups languages
You can view this information at the end of this document.
Prerequisites
No requirements
Objectives and Contextualisation
The fast evolution of digital technologies in the 21st century poses continuous challenges to narratives. However, the storytelling in the digital era include the essential elements (themes, motives, stereotypes, etc.) of ancestral myths and tales, which are incessantly recombined in order to adapt them to new formats.
The objective of this course is to provide students with the essential tools and concepts to create and analyze different types of stories made through different platforms, in an effective, interactive, critical and responsible way.
The first part of the course focuses on the elements and structures of narratives. In the second part, the characteristics of the different genres and formats are defined, as well as their evolution in relation to digital storytelling. In the third part, the role of the reader/viewer/user in the construction and interpretation of texts is examined.
Gender perspective
The study of narratives is particularly useful in the critical analysis of gender representations in the digital media. One of the main objectives of the course is to examine the construction of stereotypes in a critical and reflective way.
Competences
- Adapt to new situations, have leadership ability and initiative, while maintaining creativity.
- Analyse and evaluate trends in the digital narration of information companies, and be able to propose alternatives for the construction of the story in a digital and interactive context.
- Apply tools of management, analysis, organisation and planning of information in accordance with objectives and specific information projects.
- Create and manage journalistic publications containing innovative elements from the applied introduction of ICT.
- Generate innovate and competitive proposals for applied research.
- Knowledge and understanding that provide a basis or opportunity for originality in developing and / or applying ideas, often in a research context.
- Students can communicate their conclusions and the knowledge and rationale underpinning these to specialist and non-specialist audiences clearly and unambiguously.
- Understand and analyse the trends and dynamics of change in the communicative, informative and regulatory ecosystem of the media company in the twenty-first century.
Learning Outcomes
- Analyse and evaluate the narrative characteristics of the placement company's news products.
- Analyse and evaluate trends in digital narration in news companies and apply alternative production methods that involve systems of narrative cooperation.
- Build a research project whose results propose solutions applied to the management and production of digital news content.
- Cooperate in team environments and help to achieve the objectives set.
- Identify and critically compare the changing contexts of digital narrative in terms of the platforms for producing and consuming news.
- Identify the tools associated with the positioning of digital content aimed at solving specific problems.
- Plan innovative positioning strategies for the journalistic products created by the simulated editorial team.
- Plan the processes for introducing innovation within the newstelling strategies in an editorial team.
- Propose an applied research project to be developed in the master's dissertation.
- Propose practical solutions based on developing a news product in a multidisciplinary team.
- Respect the professional development space, adapting to the needs and routines of working groups within the news company.
- Take charge of everyday situations in news production and processing, paying strict attention to achieving objectives.
- Understand and distinguish between scientific research methodologies and procedures for investigating trends and problem areas in 21st century communicative phenomena.
- Understand digital-information architectures and systems and apply them to 21st century news companies.
- Use search-engine positioning strategies to communicate news stories effectively.
- Use tools for gathering and processing information and documents needed to construct the theoretical or conceptual framework of the master's dissertation.
Content
Digital narratives
- Narrative concepts
- Relationship between technology and narrative
- Structure and making of stories
- What characters for what kind of narratives?
Genres and formats of digital narratives
- Genres
- Formats
Interpretation and interaction
- Intermediality, transmedia and fandom
Activities and Methodology
| Title | Hours | ECTS | Learning Outcomes |
|---|---|---|---|
| Type: Directed | |||
| Autonomous training activities | 75 | 3 | 13, 3, 5, 7, 15 |
| Master classes | 45 | 1.8 | 2, 13, 5, 8 |
| Supervised training activities | 30 | 1.2 | 2, 13, 3, 4, 10, 15 |
- Master classes
- Problem solving classes / cases / exercises
- Presentation of works in the classroom
- Tutorials
- Preparation of works / reports
- Individual study
- Reading of articles / reports of interest, etc.
Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.
Assessment
Continous Assessment Activities
| Title | Weighting | Hours | ECTS | Learning Outcomes |
|---|---|---|---|---|
| Attendance, active participation and assignements in the classroom | 25% | 0 | 0 | 1, 2, 14, 13, 3, 4, 5, 6, 8, 7, 12, 15 |
| Exam | 25% | 0 | 0 | 1, 2, 14, 13, 5, 6 |
| Work submissions | 50% | 0 | 0 | 2, 14, 13, 4, 5, 6, 7, 10, 9, 11, 12, 16 |
Continued evaluation
The evaluation is the result of the proportional average of the different activities carried out.
Attendance and active participation in the classroom represents 25% of the final grade for the course. The works delivered 50%. 25% corresponds to the exam Absences will be penalized with a detriment of the final 10% grade for each 3-hour session or fraction (except documented justifications). Deliveries of works outside the scheduled dates will not be accepted.
The delivery of the results of the work carried out and the content tests will include the date and time of the corresponding review. Students who wish to do so may take the review whenever they request it within a maximum period of two days from the delivery of the results. Subsequent requests for review will not be accepted.
The proposed teaching methodology and evaluation activities may undergo some modifications depending on the health authorities' attendance restrictions.
The calendar will be available on the first day of class. Students will find information on the Virtual Campus about the description of the activities, teaching materials, etc. In case of a change of teaching modality for health reasons, teachers will make readjustments in the schedule and methodologies.
Recuperation: continued evaluation
According to regulations, in order to be able to participate in the recovery process, studentsmust have previously been assessed for at least 2/3 of the total assessable activities of thesubject.
In the period for the reassessment, failed exams may be repeated if the average is not less than 3.5 (unrealized exams score 0 in the calculationof the mean).
The repetition of the assignment follows the same pattern of the exams: the failed works can be re-assessed as long as the grade is not lower than 3.5 (the unrealized assignments score 0 in the calculation ofthe mean).
The readings, discussions and exercises carried out in the seminars are linked to work in the classroom, so they can’t be re-assessed (unrealized activities score 0 in the calculation of the mean).
In the case of a second enrollment, students have to make an exam. The grading of the subject will correspond to the grade of the exam.
Single evaluation
50% Theory test. It will be essential get at leats 5 points to pass the subject.
20% Solving 4 case studies or communication challenges.
30% Delivery of a project aimed at practicing the contents of the subject, previously agreed with the teacher.
Recuperation: single evaluation
According to regulations, in order to be able to participate in the recuperation process, students must have previously been assessed for at least 2/3 of the total evaluable activities of the subject.
The theory exam can only be repeated if the student has obtained a grade equal to or higher than 3.5. The re-evaluation test will consist of a written exam to assess theoretical knowledge.
The grade obtained in the resolution of communication cases or challenges will form part of the weighted average of the final grade. Only in the event of failing this exercises with a grade equal to or higher than 3.5 and if the student considers this to be the case, she/he may choose to repeating the evaluation with exercises of the same nature.
The research and conceptualization work can’t be re-assessed.
If a student makes an irregularity (copy, plagiarism, etc.), the corresponding assessment act will be rated with 0. In the event of several irregularities, the final grade for the course would be 0.
The professors teaching the subject can indicate to the students that, for the correct development of the class and to ensure good coexistence in the classroom, it is advised not to use electronic devices or screens during the class, except when indicate otherwise due to a specific teaching situation.
Bibliography
BASIC REFERENCES
Narrative concepts
- Gottschall, Johanttan (2021) The Universal Grammar. The Story Paradox: How Our Love of Storytelling Builds Societies and Tears them Down (pp. 97-122). Basic Books.
The relationship between technology and narrative
- Lacalle, Charo (2022) Indignidades digitales. (In)dignidades mediáticas en la sociedad digital (pp. 139-154). Cátedra.
Structure and making stories
- Vogler, Christopher (2002[1992]. El viaje del escritor: Las estructuras míticas para escritores, guionistas, dramaturgos y novelistas. Ma Non Troppo.
What characters for what kind of narratives?
- Palahniuk, Chuck (2022[2020]) Plantéate eso. Penguin Random House.
Genres
- Renner, Karl Nikolaus (2020) Facts and Factual Narration in Journalism". M. Fludernik and M.-L. Ryan (eds.) Narrative Factuality: A Handbook (pp. 465-478). De Gruyter.
- VV.AA. (2008) Introduction: what is genre?. En G. Creber (ed.) The television genre book (pp. 1-15). BritishFilm Institute.
Formats
- Sorapure, Madeleine (2022) Data Narratives: Visualization and Interactivity in Representations of COVID- 19. P. Dawson & M. Mäkelä (eds.) The Routledge Companion to Narrative Theory (pp. 55-68). Routledge.
Interpretation and interaction
- Lacalle, Charo (2023) Cartografiando las subculturas de la manosfera española. Entre Forocoches y Burbuja.info. Y. Franco y A. Bernárdez Rodal (eds.) Misoginia online: la cultura de la manosfera en el contexto español (pp. 115-134). Tirant.
Intermedialidad, transmedia y fandom
- Lacalle, Ch., Gómez, B., Narvaiza, S. (2021) ¿Amigos o simplemente fans? Las relaciones parasociales en las comunidades online de la ficción televisiva”. Communication & Society, 34 (3), 2021, 61-77.
- Ryan, Marie-Laure (2005) On the Theoretical Foundations of Transmedial Narratology". J. Ch. Meister (ed.) Narratology beyond Literary Criticism: Mediality, Disciplinarity 8pp. 1-249. De Gruyter.
GENERAL REFERENCES
- Barthes, Roland (1993[1966]). Introducción al análisis estructural del relato (1966). En La aventura semiológica. Barcelona, Paidós.
- Barthes, Roland (1994[1984]). La muerte del autor. El susurro del lenguaje. Más allá de la palabra y la escritura (pp. 65-72). Paidós.
- Campbell, Joseph (2017[1949]) La aventura del héroe. El héroe de las mil caras. Psicoanálisis y mito (pp. 65-282). Fondo de Cultura Económica.
- Chatman, Seymour (2013[1978]) Historia y sucesos. Historia y discurso (pp. 83-113) Taurus.
- Cobley, Paul (2014) Narrative. Routledge (2ond edit.)
- Eco, Umberto (1993[1079]) El lector modelo. Lector in fabula (pp. 73-95). Lumen.
- Eder, Jens; Jannidis, Fotis; Schneider, Ralph (2010). Introduction. Characters in Fictionals worlds. Understanding Imaginary Beings in Literature, Film, and Other Media (pp. 3-66). DeGruyter.
- Elleström, Lars (2019). Narrating Through Media Modalities (pp. 45-59). Transmedial Narration Narratives and Stories in Different Media. Palgrave-MacMillan.
- Genette, Gerard (1989[1972]) La estructura del relato. Figuras III (pp. 77-321). Lumen.
- Genette, Gerad (1993[1991]). Relatoficcional, relato factual. Ficción y dicción (pp. 54-84). Barcelona: Lumen.
- Han, Byung-Chun (2024) The Crisis of Narration. Polity.
- Jenkins, Herny (2008) From Production to Produsage: Interview with Axel Bruns (Part One). Confessions of an Aca-fan, May 9th. Disponible en http://henryjenkins.org/2008/05/interview_with_axel_bruns.html#sthash.91niVbc1.dpuf
- Jenkins, Herny (2006). Convergence culture: where old and new media collide. New York University.
- Jenkins, Henry (31 de julio de 2011). Transmedia 202: Further reflections. Disponible en http://henryjenkins.org/2011/08/defining_transmedia_further_re.html
- Koenitz, Hartmut (2017) Towards a Specific Theory of Interactive Digital Narrative. Koenitz, H.; - Ferri, G.; Haahr; M.; Sezen, D. (eds.) Interactive Digital Narrative. History, Theory and Practice (pp. 91-105). Routledge.
- Lacalle, Charo (2022) (in)dignidades mediáticas en la sociedad digital. Cátedra.
- Lacalle, Charo; Gómez-Morales; Beatriz; Vicent-Ibáñez, Mireya (2023) Misogyny and the construction of toxic masculinity in the Spanish Manosphere (Burbuja.info). Profesional de la información, 32(2), 2023, e320215. https://doi.org/10.3145/epi.2023.mar.15
- Mittell, Jason (2005) A Cultural Approach to Television Genre Theory. G. R. Edgerton & B. G. Rose (eds.) Thinking outside the box. A contemporary television genre reader (pp. 37-64). The University Press of Kentucky.
- Montfort, Nick (2007) Narrative and digital media. D. Herman(ed.) The CambridgeCompanionto Narrative (pp. 172-188).Cambridge University Press.
- Nusz, Aaron (2012). Joseph Campbell and the mythic experience. The Fundational Structures of Star Wars (pp-16-56) . Kentuchy: University of Louisville.
- Oren, Tasha & Shahaf, Sharon (2012). Global Television Formats: Understanding Television Across Borders. Routledge.
- Page, Ruth (2022) Co-Tellership in Social Media Storytelling. P. Dawson & M. Mäkelä (eds.) The Routledge Companion to Narrative Theory (pp. 119-133). Routledge.
- Perceval, J.M., Tejedor, S. (2006). El cuento multimedia interactivo. Revista Comunicar, 26(0), pp. 177-182.
- Phelan, James; Rabinowitz, Peter; Wharhol, Robyn; Herman, David; Richardson, Brian (2012) Reception and the reader. D. Herman, J. Phelan, P. J Rabbinowitz, B. Richardson, Wharhol, R. (2012) Narrative Theory. Core Concepts and Critical Debates (pp. 139-159). The Ohio State University Press.
- Propp, Vladimir (1998[1928]) La morfología del cuento. Akal.
- Riedl, Mark O.; Bulitko, Vadim (2013) Interactive Narrative: An Intelligent Systems Approach. AI Magazine, 34(1), 67-77. doi: https://doi.org/10.1609/aimag.v34i1.2449
- Ryan, Marie-Laure. (2004) Will new media produce new narratives? M.-L. Ryan (ed.) Narrative across media (pp. 337-359). University of Nebraska Press.
- Ryan, Marie-Laure (2016) Narratología transmedial y transmedia storytelling. Artnodes: revista de arte, ciencia y tecnología, 18, 1-10. doi: http://dx.doi.org/10.7238/a.v0i18.3049
- Ryan, Marie-Laure (2018) Narrative mapping as cognitive activity and as active participation in storyworlds. Frontiers in Narrative Studies, 4(2), 1-16. https://doi.org/10.1515/fns-2018-0020
- Todorov, Tzvetan (2002[1978]. El origen de los géneros. Los géneros del discurso (pp. 57-80). Waldhuter.
Software
None
Language list
| Name | Group | Language | Semester | Turn |
|---|---|---|---|---|
| (TEm) Theory (master) | 60 | Spanish | second semester | morning-mixed |