Jennifer Aaker: Harnessing the Power of Stories
Studies show that if you share a story, people are often more likely to be persuaded. And when data and story are used together, audiences are moved both intellectually and emotionally. When telling a story, you take the listener on a journey, moving them from one perspective to another.
The Hero’s Journey
Authentic Branding for a Global Audience by Angela Ahrendts for the Future of StoryTelling 2013
Angela shares how brands can effectively target millennials and engage global audiences through digitally-led authentic and emotive storytelling.
Data Driven Stories by Aaron Koblin for the Future of StoryTelling 2012
Aaron Koblin draws increasingly on the immense computing, storage, and data-sharing capabilities of the current generation of computers and demonstrates in the most vivid ways imaginable the infinite artistic and narrative possibilities of crowdsourced digital creation and autonomous storytelling.
World Building by Alex McDowell for the Future of StoryTelling 2016
Alex McDowell builds future realities to envision worlds that don’t yet exist. By working across disciplines to imagine the future, McDowell hopes to immerse audiences and open up their eyes to possibility.
Story(Us): The Power of Collaborative Storytelling by Jake Barton for the Future of StoryTelling 2012
Today, though, online and mobile platforms, combined with a diverse and amplified media environment, have allowed everyday people to capture these experiences and share them with an audience on a scale never before possible, turning almost anyone into a potential generator of content. At the same time, other new technological platforms are giving professional storytellers more power than ever to harness those stories to create a larger, cohesive narrative. That act of harnessing and shaping many disparate individual narratives into something greater than the sum of its parts is what collaborative storytelling is.
Dramatic Agency: The Next Evolution of Storytelling by Janet Murray for the Future of Storytelling
Janet Murray is always looking at how stories are evolving. Long-form serial narratives are being reinvented in the form of complex, binge-worthy television, while video games are maturing into fully developed story worlds that we can directly interact with. We can now actively engage with fictional worlds as we experience them.
The Future of Advertising by Joe Marchese for the Future of StoryTelling 2015
Joe Marchese explores how our new digital tools can now target consumers with strong content that truly engages them.
The Audience Has an Audience by Kevin Slavin & Kenyatta Cheese for the Future of StoryTelling 2013
The audience spark discussions and create fan art focusing on certain aspects of the show, and in that way, help change the story the show is telling.
Stories You Can Win by Margaret Robertson for the Future of StoryTelling 2012
Games are engines for making stories. Their rule sets and objectives are mechanisms that engender the things that drive stories—courage, failure, shame, greed, sacrifice, surprise—and gives them context and structure.
Transmedia 101 by One 3 Productions
What is transmedia storytelling?
Empathy, Neurochemistry, and the Dramatic Arc by Paul Zak at the Future of StoryTelling 2012
The simplest narrative, if it is highly engaging and follows the classic dramatic arc outlined by the German playwright Gustav Freytag, can evoke powerful empathic responses associated with specific neurochemicals, namely cortisol and oxytocin. Those brain responses, in turn, can translate readily into concrete action.
Responsive Stories by Rana el Kaliouby for The Future of Storytelling 2016
Artificial emotional intelligence can be used to make our digital worlds emotionally aware.
Randy Olson talk at TEDMED 2013
The And, But, Therefore template
The Fiction of the Science by Robert Wong for the Future of StoryTelling 2013
Robert Wong says that collaboration between art and science, between story and fabrication, is essential for scientific and creative innovation.
Connected Immersion by Susan Bonds for the Future of StoryTelling 2014
Susan Bonds team creates stories that cross platforms and spill off the screen, so that the world becomes the stage and audience members play a meaningful role in the story.
We Can Be Heroes by Tim Kring for the Future of StoryTelling 2012
Tim Kring asked himself a question: How do you take that kind of audience engagement, that level of intimacy with a story and its characters, and translate it into positive social action? In 2012 he proposed an answer: “The Conspiracy for Good,” an interactive storytelling experience that merges fictional dramatic narrative and alternate-reality gaming models with real-world altruism.
The Evolution of Cinema and the Birth of a New Art Form by Tom Perlmutter for the Future of Storytelling 2013
In recent years, technological advances have made it possible for films to be interactive, putting the power to structure a narrative into audiences’ hands. The ability to navigate a digital landscape allows an audience to be a more intrinsic part of the film.
What is Canon? (ft. DOCTOR WHO)
There is a lot of talk in comics about what stories count as canon—meaning, which stories are official, and which ones aren’t. But what does it mean if something is canon?
INBOUND 2013 Opening Video
Vision video re-imagining the way companies and people interact.
Leadership storytelling and “Circle of the 9 Muses” by David Hutchens
Today, leaders are looking to storytelling to help advance the work of the organization. Here’s a look at some of the possibilities.
Storytelling through playful interactions by Dalziel & Pow
Pushing the boundaries of storytelling within a space, the installation makes it fun and engaging, putting ideas before hardware.
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