A benchmark of visual storytelling in social media

CMUP-ERI/TIC/0046/2014Media editors in the newsroom are constantly pressed to provide a "like-being there" coverage of live events. Social media provides a disorganised collection of images and videos that media professionals need to grasp before publishing their latest news updated. Automated news visual storyline editing with social media content can be very challenging, as it not only entails the task of finding the right content but also making sure that news content evolves coherently over time. To tackle these issues, this paper proposes a benchmark for assessing social media visual storylines. The SocialStories benchmark, comprised by total of 40 curated stories covering sports and cultural events, provides the experimental setup and introduces novel quantitative metrics to perform a rigorous evaluation of visual storytelling with social media data.publishersversionpublishe

Publicidade digital, storytelling e transmedia narrativa: educomunicação do consumidor

The present text tries to analyze the relationships between the concept of digital storytelling applied to advertising starting from the base of the transmedia narrative. This is: how the new transmediatic narrative helps the construction of advertising discourses based on the notion of storytelling and how it establishes the bases for an educommunication of the consumer, the spectator and / or the target.El presente texto trata de analizar las relaciones entre el concepto de storytelling digital aplicado a la publicidad partiendo de la base de la narrativa transmedia. Esto es: cómo la nueva narrativa transmediática ayuda a la construcción de discursos publicitarios basados en la noción de storytelling y cómo ello establece las bases para una educomunicación del consumidor, del espectador y/o del target.O presente texto tenta analisar as relações entre o conceito de narrativa digital aplicado à publicidade a partir da base da narrativa transmedia. Isto é: como a nova narrativa transmediaica ajuda a construção de discursos publicitários com base na noção de narrativa e como estabelece as bases para uma educação do consumidor, o espectador e / ou o target

Digital advertising storytelling: consumer educommunication

This is a revision of the concept of digital storytelling to get a definition from a point of view of consumer educommunication. This is how new digital advertising storytelling can modify consumer roles and behaviors. So, in this text, we do a literature revision to explain the advantages of storytelling for digital marketing, the main common mistakes in digital advertising storytelling and what should a good storytelling strategy include. Besides, we make a description about media you have to use, the demand and growth of visual content and other digital marketing Trends for next years.El presente texto es una revisión del concepto de storytelling para alcanzar una definición desde el punto de vista de la educomunicación del consumidor. Esto es: cómo el actual storytelling publicitario digital puede modificar los roles y comportamientos de los consumidores. De este modo, hacemos una revisión de la literatura para explicar las ventajas del storytelling para el marketing digital, los principales errores en el storytelling publicitario y que debería incluir una buena estrategia pensada por y para un storytelling. Asimismo, hacemos una descripción sobre los medios más adecuados para utilizar, así como la demanda y crecimiento del contenido visiaul y otras tendencias del marketing digital para los próximos años

Viewing the Future? Virtual Reality In Journalism

Journalism underwent a flurry of virtual reality content creation, production and distribution starting in the final months of 2015. The New York Times distributed more than 1 million cardboard virtual reality viewers and released an app showing a spherical video short about displaced refugees. The Los Angeles Times landed people next to a crater on Mars. USA TODAY took visitors on a ride-along in the "Back to the Future" car on the Universal Studios lot and on a spin through Old Havana in a bright pink '57 Ford. ABC News went to North Korea for a spherical view of a military parade and to Syria to see artifacts threatened by war. The Emblematic Group, a company that creates virtual reality content, followed a woman navigating a gauntlet of anti- abortion demonstrators at a family planning clinic and allowed people to witness a murder-suicide stemming from domestic violence.In short, the period from October 2015 through February 2016 was one of significant experimentation with virtual reality (VR) storytelling. These efforts are part of an initial foray into determining whether VR is a feasible way to present news. The year 2016 is shaping up as a period of further testing and careful monitoring of potential growth in the use of virtual reality among consumers

Reappraising Always

Steven Spielberg's 1989 film Always represents one of the director's few critical and commercial disappointments. This paper examines the extent to which the film's failures are attributable to its formal, stylistic, and narrative features. The paper offers a defence of Always against specific reproaches. It also pursues more positive aims. Following Warren Buckland, the paper pinpoints organic unity as Spielberg's primary compositional principle; it tracks the development of motifs, tactics of foreshadowing, and other internal norms to demonstrate the formation of a structurally unified text; and it posits contrasts with a pertinent antecedent, A Guy Named Joe (Victor Fleming, 1943), so as to set Spielberg's artistic achievements in relief. The paper goes on to isolate some putatively troublesome manoeuvres at the film's internal level. Certain of these problematic aspects, I argue, force us to recognise that important narrative effects can be yielded by modulated deviations from organic unity. The collective aim of these arguments is to suggest that Always is apt for critical revaluation. Over this hovers a secondary objective. The paper seeks to disclaim two interrelated faults ascribed to Spielberg: a characteristic supplanting of narrative coherence by spectacle; and an indifference to subtlety and sophistication

Cultural Participation: A Survey about Arts & Cultural Activities on Chicago’s South Side

Each year our graduate research class at the University of Chicago’s Harris School of Public Policy undertakes a project to address a major issue in cultural policy. In 2013, our project was locally-based, but focused on an issue with global implications: charting the multiple and varied ways that people are now engaging in cultural activities and experiences beyond the focus in recent decades on arts attendance at established cultural venues. Conducted periodically since 1982, the National Endowment for the Arts’ Survey of Public Participation in the Arts (SPPA) serves as the preeminent source of arts participation data in the US. Historically, the most widely reported summary statistic from the SPPA has been attendance at the seven benchmark arts events.1 The 2008 SPPA found that only 34.6 percent of American adults had attended any benchmark arts performance or exhibit in the preceding 12 months. This finding, along with the general downward trend in attendance across all art forms and among all age cohorts, sent shock waves through the cultural community of artists, arts professionals, audiences and supporters. And the persistent finding that the majority of cultural attenders tend to be white, well-educated, and older than the median age of Americans was also cause for concern and questioning. New questions have subsequently arisen about the nature of arts and cultural participation: What arts experiences are most relevant to people’s daily lives? Through what means and in what settings do people feel that they are participating in creative or cultural activity? Does the SPPA adequately capture these activities? Such issues about the extent and scope of cultural participation are now being addressed in countries around the world. A 2012 UNESCO study compiled the kinds of survey questions that are now being asked internationally, including “did you go to a library, attend the cinema, or play videogames in the past 12 months?” “How often do you read books, newspapers, magazines, or listen to the radio?” “How often, if ever, have you taken photographs, or made videos or movies?; played a musical instrument, sung, acted or danced?) [UNESCO 2012]. Increasingly, arts are not perceived as a luxury, but as an inherent cultural right to self-expression and community participation (Ivey 2008). Acts of individual creative expression, as well as attendance, are vital aspects of a healthy arts ecology. Our project to investigate the ways and means by which individuals participate in arts and cultural experiences took shape as a pilot project in Chicago’s South Side community, where the University of Chicago is located. With the help of the University-sponsored South Side Arts and Humanities Network, we brought a local focus to the questions of: What “counts” as cultural participation? How often do people participate? What are the physical and social contexts for participation? How and why do people participate in the way they do Ten cultural organizations of varying sizes and membership, all of which actively engage people in a range of cultural activities and experiences, agreed to participate in our pilot study. Our students conducted interviews with staff and volunteer members of South Side arts and cultural organizations on the topic of cultural participation, then developed and conducted an online survey to gauge what kinds of cultural participation take place in this local context. Although our sample of respondents is an online convenience sample, not representative of the South Side as a whole, it does allow analysis of participation patterns within our sample of 263 respondents. It also generates a snapshot view of our local cultural landscape that can be used to encourage researchers and policymakers to think much more expansively about what cultural participation in the 21st century means. The opportunity to address the question of “what’s happening culturally?” in our local neighborhood proved inspiring, particularly at this time when the latest 2012 NEA Survey of Public Participation in the Arts results are forthcoming. In conjunction with the NEA’s recent efforts to energize research to understand arts and cultural engagement, we present our survey results and report with the hope that it can make a contribution to a new and broadened understanding of cultural participation. Jennifer Novak-Leonard and Betty Farrell Instructors, PPHA 39703 Harris School of Public Policy, The University of Chicago March 201

Arts Service Organizations: A Study of Impact and Capacity

Evaluates the capacity of arts and cultural organizations during a two-year initiative while they assisted other small nonprofits and individual artists. Addresses issues of funding and partnerships; includes recommendations