Introduction to Storytelling
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http://videoplan.witness.org | This session introduces and reviews key principles of using storytelling for advocacy video. WITNESS Training Curriculum - Part of module 5
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Introduction to Storytelling
- 1. Introduction to Storytelling WITNESS invites you to use, remix and share this curriculum. All materials are under Creative Commons Attribution-Non-Commercial ShareAlike 3.0 License. You can also find more video advocacy training materials at www.witness.org.
- 2. SO WHAT’S YOUR STORY?
- 4. What is visual storytelling for human rights? DEFINED: The strategic use of images, pictures, and sounds to tell stories that can pressure, shame, move or compel key audiences to take action that will protect, defend and uphold human rights. GOAL: The story inspires the action you want from the audience.
- 10. PRINCIPLE 1: VOICES WHO WILL TELL YOUR STORY?
- 15. WHOSE VOICES WERE INCLUDED? EXCLUDED?
- 18. PRINCIPLE 3: AUDIO & VISUAL WHAT WILL WE HEAR? SEE?
- 20. WHAT VISUALS WERE INCLUDED? EXCLUDED?
- 22. WHAT AUDIO WAS INCLUDED? EXCLUDED?
- 32. Introduction to Storytelling WITNESS invites you to use, remix and share this curriculum. All materials are under Creative Commons Attribution-Non-Commercial ShareAlike 3.0 License. You can also find more video advocacy training materials at www.witness.org.
Notes de l'éditeur
- WITNESS: Strategies for using video as a tool in human rights advocacy
- WITNESS: Strategies for using video as a tool in human rights advocacy
- WITNESS: Strategies for using video as a tool in human rights advocacy
- WITNESS: Strategies for using video as a tool in human rights advocacy
- WITNESS: Strategies for using video as a tool in human rights advocacy
- WITNESS: Strategies for using video as a tool in human rights advocacy Is there one way to tell a story…. No! But the most effective stories often have Dramatic momentum Tension or ‘conflict’ Powerful characters and Telling details
- WITNESS: Strategies for using video as a tool in human rights advocacy Point-of –view -- Point of View : Who provides the guiding information in the film? Who orientates us and explains what is happening? Who frames what we are seeing? Who gives you credibility ? VOICES: What story will be persuasive, compelling, or motivating for this audience? Whose story do you want to tell? What will resonate with the target audience? What will make them feel compelled to do something? Should tell both sides of the story and give a balanced view for credibility sake? For a powerful story sake? To ensure there’s not deception? CN 4 TYPES OF CREDIBILITY: What voices is it important to have in the video in order to have emotional, political, and ethical credibility and impact?
- WITNESS: Strategies for using video as a tool in human rights advocacy Point-of –view -- Point of View : Who provides the guiding information in the film? Who orientates us and explains what is happening? Who frames what we are seeing? Who gives you credibility ? VOICES: What story will be persuasive, compelling, or motivating for this audience? Whose story do you want to tell? What will resonate with the target audience? What will make them feel compelled to do something? Should tell both sides of the story and give a balanced view for credibility sake? For a powerful story sake? To ensure there’s not deception? CN 4 TYPES OF CREDIBILITY: What voices is it important to have in the video in order to have emotional, political, and ethical credibility and impact?
- WITNESS: Strategies for using video as a tool in human rights advocacy Emotional credibility: Who speaks to our heart , and to our storytelling instincts? Analytical credibility: Who speaks to our head ? Ethical credibility: Whose voices must be in for ethical reasons? I.e. Are those most victimized/marginalized given space to speak out? Political credibility: Who speaks to the audience? Who needs to be in to satisfy them?
- WITNESS: Strategies for using video as a tool in human rights advocacy Emotional credibility: Who speaks to our heart , and to our storytelling instincts? Analytical credibility: Who speaks to our head ? Ethical credibility: Whose voices must be in for ethical reasons? I.e. Are those most victimized/marginalized given space to speak out? Political credibility: Who speaks to the audience? Who needs to be in to satisfy them?
- WITNESS: Strategies for using video as a tool in human rights advocacy
- WITNESS: Strategies for using video as a tool in human rights advocacy Emotional credibility: Who speaks to our heart , and to our storytelling instincts? Analytical credibility: Who speaks to our head ? Ethical credibility: Whose voices must be in for ethical reasons? I.e. Are those most victimized/marginalized given space to speak out? Political credibility: Who speaks to the audience? Who needs to be in to satisfy them?
- WITNESS: Strategies for using video as a tool in human rights advocacy Possible to screen Shoot on Sight rights alert
- Rightful place: http://hub.witness.org/node/5093 Pro: exact structure of legal case & evidence Screened at African Commission alongside legal submission and in-person advocacy WITNESS: Strategies for using video as a tool in human rights advocacy
- WITNESS: Strategies for using video as a tool in human rights advocacy The Gathering Storm - Africa (play without sound / subtitles) (TRT 2:32) The Gathering Storm – Asia (play with eyes close, just listening) (TRT 3:33) Other options include: (can either juxapose two videos, one with sound, one without or just play one video to show how audio and visual complement each other. For just visuals first then add audio: http://www.youtube.com/watch?v=ndTIIPgEu0w (nao partam a minha cassia) (TRT 1:21) http://www.nytimes.com/packages/html/nyregion/1-in-8-million/index.html#/freda_degannes (TRT 2:03) http://www.nytimes.com/packages/html/nyregion/1-in-8-million/index.html#/maurice_decaul (TRT 2:34) http://www.nytimes.com/packages/html/nyregion/1-in-8-million/index.html#/mark_mocha (TRT 2:45)
- WITNESS: Strategies for using video as a tool in human rights advocacy Emotional credibility: Who speaks to our heart , and to our storytelling instincts? Analytical credibility: Who speaks to our head ? Ethical credibility: Whose voices must be in for ethical reasons? I.e. Are those most victimized/marginalized given space to speak out? Political credibility: Who speaks to the audience? Who needs to be in to satisfy them?
- WITNESS: Strategies for using video as a tool in human rights advocacy One-minute clip / one scene of XXX . Consider XXX or external example of just audio and then just video and then the marriage of them both, www.url.org Testimony, overheard conversations, narration music, silence, wild sound, sound effects.
- WITNESS: Strategies for using video as a tool in human rights advocacy Emotional credibility: Who speaks to our heart , and to our storytelling instincts? Analytical credibility: Who speaks to our head ? Ethical credibility: Whose voices must be in for ethical reasons? I.e. Are those most victimized/marginalized given space to speak out? Political credibility: Who speaks to the audience? Who needs to be in to satisfy them?
- WITNESS: Strategies for using video as a tool in human rights advocacy One-minute clip / one scene of XXX . Consider XXX or external example of just audio and then just video and then the marriage of them both, www.url.org Testimony, overheard conversations, narration music, silence, wild sound, sound effects.
- WITNESS: Strategies for using video as a tool in human rights advocacy STYLE -- Audience, messages, stories and voices should help you define the style Ask: What is the style that will resonate / have most credibility with your target audience? Hand held v. tripod Fast-paced v. slow paced Glitzy or gritty Interviews or narration Music choice Looking directly into the camera v. your traditional interview set up v. intentionally using an awkward set up, including high or low angles of interviews Concealed identify / voice Etc. Stories from the same genre/approach draw on these filmic forms and share certain conventions of structure and story-telling: Personal point-of-view (Michael Moore – ‘Roger and Me’) News-journalistic (investigations on evening news – ‘Benny Farm’) Journey around a central character (Joey Lozano in ‘Seeing is Believing’) Location-centered film (Fred Wiseman – Titticut Follies) Survey/thesis film (‘Seeing is Believing’) Music video (Breakthrough TV – Mann Ke Manjeere) Public Service announcement (PSA) (concept-based) Viral videos on YouTube (humor, pop culture, celebrity)
- WITNESS: Strategies for using video as a tool in human rights advocacy STYLE -- Audience, messages, stories and voices should help you define the style Ask: What is the style that will resonate / have most credibility with your target audience? Hand held v. tripod Fast-paced v. slow paced Glitzy or gritty Interviews or narration Music choice Looking directly into the camera v. your traditional interview set up v. intentionally using an awkward set up, including high or low angles of interviews Concealed identify / voice Etc. Stories from the same genre/approach draw on these filmic forms and share certain conventions of structure and story-telling: Personal point-of-view (Michael Moore – ‘Roger and Me’) News-journalistic (investigations on evening news – ‘Benny Farm’) Journey around a central character (Joey Lozano in ‘Seeing is Believing’) Location-centered film (Fred Wiseman – Titticut Follies) Survey/thesis film (‘Seeing is Believing’) Music video (Breakthrough TV – Mann Ke Manjeere) Public Service announcement (PSA) (concept-based) Viral videos on YouTube (humor, pop culture, celebrity)
- WITNESS: Strategies for using video as a tool in human rights advocacy STRUCTURE -- - Audience, messages, stories and voices should help you define the style & structure Ask: What forms the spine of your video (testimonies, title cards, a single character, assemble of characters / interviewees, reenactments, verite footage) Simple compilation of testimonies and interviews, which can’t really stand alone for an audience that may be unfamiliar with the issue, but that could serve for animating a community discussion? A longer-form story-focused film about the issue, using one or two characters/cases as the narrative thread that draws empathy. Video report that offer visual evidence (images, testimonies, interviews, photos, etc) within an analytical framework Raw material for a news report Advertisement-sturcture 60 – 90 second Public Service Announcement (PSA) that will simply put the idea there by playing with images and music, but not allow any analysis etc. Four filmic approaches to point of view: Narration or titlecard-driven : We are guided by a named or anonymous narrator Interview-driven : We are guided through by a series of interviews Observational-verite : We see ‘life as it happens’ with no apparent intervention Character-led : We are led through by a person involved in the narrative
- WITNESS: Strategies for using video as a tool in human rights advocacy Needs research and review by Sam as I did this off the top of my head with no research.
- WITNESS: Strategies for using video as a tool in human rights advocacy Needs research and review by Sam as I did this off the top of my head with no research.
- WITNESS: Strategies for using video as a tool in human rights advocacy Often an advocacy video includes/ends with: A direct request to viewers from a person in the video An individual in the video framing an analysis of why a situation is occurring and what audiences can do Highlighting key advocacy work already happening References to opportunities to learn more, and materials available for offline organizing and discussion at screenings Always make your request concrete, specific, and relevant to your audience Don’t just complain….
- WITNESS: Strategies for using video as a tool in human rights advocacy Goes to PART D of the Facilitator’s notes in Modual 5.1.
- WITNESS: Strategies for using video as a tool in human rights advocacy