The traditional methods of communication like oral and written evolved to include relatively newer platforms such as telephone, radio, and television over the course of several centuries. But just in a matter of few years, the Internet and technology have merged to give rise to newer, faster, and more compelling tools of communication that have re-shaped the way people communicate. The result is a higher volume of data, producing a rapid exchange of ideas, cultural convergence, identity construction, confusion, and misinformation.
Realising the need to use newer tools, narrate stories in a more effective and credible manner, Anglia Ruskin University set up the Cultures of the Digital Economy in 2009.
Renamed as StoryLab, it is an interdisciplinary research institute that works on generating innovative multimodal stories which are a combination of traditional forms of storytelling (creative writing, illustration, painting, literature, music, and performance) and the newer: film, data visualisation, sound, photography, generative art, and digital media.
The distribution platforms have evolved too: single, interactive and multiscreen platforms, immersive platforms such as MR, AR and VR, exhibitions, and traditional and digital publishing.
Evolving methods
“The stories remain the same; the way they are told is changing, challenging traditional narrative conventions. Not only are storytellers using new technologies to reach and engage audiences in more immersive ways, but they also enable audiences to become their own storytellers,” Dr.Shreepali Patel, Director of StoryLab.
StoryLab collaborates with researchers, businesses, third sector organisations, and wider professional bodies across all disciplines, to execute collaborative projects through multimodal storytelling. The effectiveness of this form of combined storytelling can be seen in the research institute’s project — The Crossing — trigger by an installation curated by actress Emma Thompson on the journey of a trafficked woman.
The institute created a number of digital versions of the project (single split screen, multi-screen, 360 physical, 360 VR and interactive VR. It employed traditional narrative techniques by embedding the narrated story of a young trafficked girl as voiceover.
The non-conventional techniques were applied by using visual fragments that could be applied across platforms for users to experience the story in a number of ways. This experience was heightened by the application of a binaural soundscape linking the viewer to the girl’s story through heartbeats and breaths.
The impact this project has left on the audience is what the multimodal storytelling sets out to achieve. It has received comments like, “I was absolutely stunned, horrified and felt all sorts of physical effects whilst in the gallery — goosebumps, tears, lump in throat, breath catching. It will stay with me.” The project has also won several awards recognising the techniques used for “pushing the boundaries of film and communication”.
This form of storytelling is not just restricted to themes such as identity, truth, environment, migration, and wellbeing. StoryLab is also currently working on a 360 narrative for hospice patients.
“Cultural sectors are increasingly looking at how audiences can experience the stories embedded within and to explore their own institutions. Big studios globally are investing in these new storytelling formats,” says Dr. Patel.
Opportunities
“Multimodal storytelling is part of the growth of creative industries globally and the fourth industrial revolution. The creative convergent landscape offers a huge number of opportunities for those applying themselves to multi-disciplinary creative practice,” says Dr. Patel, of the opportunities in the field.
This form of storytelling brings together people from various disciplines — filmmakers, coders, gamers, writers, and so on. “The dialogue between the different specialist areas drives cross-disciplinary collaboration and triggers really interesting conversations and insights across disciplines.”
