The Digital Storyteller's Stage: Queer Everyday Activists Negotiating Privacy and Publicness

Vivienne, Sonja; Burgess, Jean

doi:10.1080/08838151.2012.705194

Cited by 44 publications

(32 citation statements)

References 11 publications

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“…Some of the analysis and underpinning research referred to in case studies in the second part of the article have also been discussed elsewhere (Vivienne & Burgess, 2012). The first section of the article contains updated and revised versions of earlier material (Burgess, 2007).…”

Section: Acknowledgementmentioning

confidence: 99%

“…Storytellers consider both a tangible network of friends and family members and imagined publics and audiences (see Livingstone, 2005 for excellent distinctions between 'publics' and 'audiences'). We characterise this labour as networked identity work (Vivienne & Burgess, 2012) and it frequently takes material form in edits/manipulations that selectively reveal/conceal aspects of identity. Meanwhile, the distribution phase of digital storytelling includes consideration of where and how to share stories, including exploration of the terms and conditions of various online platforms, like Rainbow Family Tree, Vimeo, Facebook and YouTube.…”

Section: Networked Self--representation and Riskmentioning

confidence: 99%

“…Meanwhile, the distribution phase of digital storytelling includes consideration of where and how to share stories, including exploration of the terms and conditions of various online platforms, like Rainbow Family Tree, Vimeo, Facebook and YouTube. Figure 1 illustrates the 3 phases of digital storytelling alongside 3 discrete textual approaches and 3 modes of sharing that illuminate storyteller understandings of privacy and publicness (described in greater detail in Vivienne & Burgess, 2012) (insert fig. 1, 3 x 3 infographic here)…”

Section: Networked Self--representation and Riskmentioning

confidence: 99%

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The remediation of the personal photograph and the politics of self-representation in digital storytelling

Vivienne

Burgess

2013

Journal of Material Culture

Self Cite

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Over the past couple of decades, the cultural field formerly known as 'domestic', and later 'personal' photography has been remediated and transformed as part of the social web, with its convergence of personal expression, interpersonal communication, and online social networks (most recently via platforms like Flickr, Facebook and Twitter). Meanwhile, the Digital Storytelling movement (involving the workshop--based production of short autobiographical videos) from its beginnings in the mid 1990s relied heavily on the narrative power of the personal photograph, often sourced from family albums, and later from online archives. This paper addresses the new issues arising for the politics of self--representation and personal photography in the era of social media, focusing particularly on the consequences of online image--sharing. It discusses in detail the practices of selection, curation, manipulation and editing of personal photographic images among a group of activist--oriented queer digital storytellers who have in common a stated desire to share their personal stories in pursuit of social change, and whose stories often aim to address both intimate and antagonistic publics.

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Section: Acknowledgementmentioning

confidence: 99%

Section: Networked Self--representation and Riskmentioning

confidence: 99%

Section: Networked Self--representation and Riskmentioning

confidence: 99%

See 1 more Smart Citation

The remediation of the personal photograph and the politics of self-representation in digital storytelling

Vivienne

Burgess

2013

Journal of Material Culture

Self Cite

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“…Este tipo de activismo, por tanto, ha surgido de compartir historias personales, un ejemplo de "activismo cotidiano" (Vivienne, Burgess, 2012), de ahí la difusión y el crecimiento del movimiento curvy que, como hemos observado en las publicaciones analizadas, parte de instantes de la vida cotidiana reivindicando un espacio a cuerpos de mujeres no normativos en espacios públicos, como son los medios de comunicación, la moda, o la publicidad. Sus reivindicaciones, gracias a su presencia en redes sociales, son recogidas en medios de comunicación y, además, permite que algunas marcas de ropa, en el caso de las curvy, amplíen su tallaje y que las revistas de moda dediquen sesiones fotográficas a modelos curvy.…”

Section: Conclusionesunclassified

“Las curvy como modelo de ‘celebritización’ y empoderamiento en Instagram

Blanes¹

2017

CIC. Cuad. Inf. Comun.

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Resumen. La comunicación digital y el auge de las redes sociales, como Instagram, han facilitado nuevos modelos de interacción y comunicación entre las personas y han configurado una nueva manera de entender la fama configurando la aparición de la micro-celebrity. El objeto del estudio es comprobar si la hipervisibilidad que produce la presencia en esta red social puede jugar un papel emancipador y una posibilidad de acción social a través de la celebrificación en el caso de las curvy, un grupo de modelos y mujeres de tallas grandes que han reivindicado su cuerpo no hegemónico. Este ejemplo nos permite analizar la interseccionalidad de género y clase en el discurso de las redes sociales.

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“…In this respect, telling stories with digital technologies and sharing online opens up the space for young people to voice their views and convey, in addition to skill, meaning. As studies on digital storytelling indicate, this can be a way for marginalized adults to perform networked identity work online and offline in order to be heard in public debates (Vivienne & Burgess 2012). Although contemporary curricula claim to bring the student and her needs in focus, we consider that current pedagogies eventually restrain the student by acting upon instead of enabling to act, by, for instance, enforcing her being unnaturally confined in space and in time.…”

Section: Storytelling With the Digital Onlinementioning

confidence: 99%

Digital Storytelling in Tomorrow’s World: Through Students’ Metaphors

Vivitsou

Konetas

Tzima

et al. 2015

ICODL

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The increasing demand for global citizenship education and the expansive use of digital technologies for learning create the need for innovative pedagogical approaches and classroom practices. These should encourage active learner engagement and a critical view of the surrounding world, such as, for instance, the role of social networks in young people's lives, environmental hazards and how human relationships develop nowadays. In this study we will discuss storytelling in a social network for pedagogy by examining how adolescent (14 and 15 year-old) students from a lower secondary school in Greece experienced knowledge construction, sharing and learning with networked peers from Finland and California in the Boundless Classroom project. To do so, we will analyze the content of student interviews and their digital stories. As part of their learning activities the participating students from California, Finland and Greece created digital stories and developed traditional (e.g., speaking, writing etc.), digital (e.g., filming, editing, remixing etc.) and networking (e.g., appreciating and responding to projected cultural landscapes) literacies. Importantly, among others, through stories students expressed their views and worries concerning potential dangers of social networking, and what attitudes would reduce environmental risks. It is these student views that we intend to analyze in order to unlock meanings and metaphors underlying pedagogical storytelling that combined the physical (or actual) and the digital site of learning.

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The Digital Storyteller's Stage: Queer Everyday Activists Negotiating Privacy and Publicness

Cited by 44 publications

References 11 publications

The remediation of the personal photograph and the politics of self-representation in digital storytelling

The remediation of the personal photograph and the politics of self-representation in digital storytelling

“Las curvy como modelo de ‘celebritización’ y empoderamiento en Instagram

Digital Storytelling in Tomorrow’s World: Through Students’ Metaphors

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