Page 29 - Producing a Video to Communicate a New Model of Coaching to GAA Coaches

an example of an informational or instructional story, but can also be told through

personal narrative. Rossiter & Garcia (2010) place all types of digital storytelling within
the constructivist approach to learning by highlighting its emphasis on the narrative

meaning-making process as being central to learning.

Alongside potentially negative effects on brain function there are cautions about the

positives that information technology may provide in a learning context. Included in this
context is a U.S. Dept. of Education Report which reported no significance to using

computer software over control classrooms on test scores (Robin, 2008). Robin (2008)
debates the conclusion and asserts that digital stories can be used to aid understanding

of abstract and conceptual content, while Rossiter & Garcia (2010) contend that digital

storytelling has already served ‘as a means for reflection, empowerment and learning’
(p. 42).

2.3.2 Some key aspects of Digital Storytelling

The image as a conveyor of information provides opportunities for interpretation,

questioning and creation of knowledge. Kay (2012), on reviewing the literature, found
increased learning performance as a key benefit of using video podcasts in education.

The power of both still and moving images, that is, video to evoke emotional responses

has been referred to by Rossiter & Garcia (2010), and this is essential when learning is

appreciated as ‘a more holistic process that involves body, mind and spirit’ (ibid. p. 45).
Lambert (2010) refers to the consideration of the ‘emotional content’ as one of ‘Seven

Steps for Digital Storytelling’ that inform any such production. The steps, described as
the ‘fundamentals’ of digital storytelling are: 1. Owning Your Insights, 2. Owning Your

Emotions, 3. Finding Your Moment, 4. Seeing Your Story, 5. Hearing Your Story, 6.
Assembling Your Story and 7. Sharing Your Story.

Rossiter & Garcia (2010) emphasise consideration of how the visual story and the aural
story work together. Meaning can be conveyed both explicitly and implicitly using

images (Lambert, 2010) while in terms of the aural story Rossiter & Garcia (2010)
highlight the need for the voiceover to “flow”, describing a digital story as ‘a

conversation between storyteller and audience’ (p. 41). Lambert (2010) also promotes

the use of ambient sound to enhance a story as it serves to “set the scene”.

17