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Analysing narratives

September 9, 2012 by Roy Johnson

understanding how stories are told

What is analysing narratives?

Analysing narratives is making a critical assessment of features in a piece of work. This activity goes from making a detailed inspection of grammar and vocabulary, to offering judgements on major issues such as structure and genre.

A narrative is the account of a sequence of events. It’s the term used to describe the whole of a story, a tale, or even a process.

The term is used mainly in literary studies when discussing major genres such as the short story, the novella, and the novel. There are also narrative poems – such as Robert Browning’s The Pied Piper of Hamelin (1842).

A narrative is an account which has a discernable beginning, includes a sequence of events, and an outcome or a conclusion.


Narratives and media

The term narrative is also used for non-literary works. In such cases its used in a general and neutral sense, when the work does not have the consciously engineered structure of written works such as the short story or the novel.

For instance, any of the following can be considered narratives:

  • A newspaper report of a natural disaster such as a volcanic eruption
  • A television documentary covering the whole of a general election
  • The description of a manufacturing process such as car production

The analysis of narratives is a form of study which arose in literary studies, and has been continued in related cultural fields of media studies such as film, television, and even computer games.

It is even possible to have narrative paintings. The Bayeaux Tapestries for instance provide an account of the Battle of Hastings in 1066, depicting a sequence of its key events, but all presented simultaneously within one frame.

Bayeux Tapestry - analysing narratives

The language of narratives

The term narrative is used to described the whole of the piece of writing or the sequence of its events – as in

The narrative of Great Expectations is one in which Dickens combines all his favourite themes and unites them with a complex plot which is full of dramatic suspense.

The term story is used to describe the content of the narrative – as in

The story of Great Expectations is one of a young boy from a humble country background who becomes a London gentleman. In doing so he loses his moral sense – only to recover himself through painful scenes of redemption.

You can see that this is an extremely compressed summary of the novel which focuses only on its most important theme and excludes any of its smaller details.

Great Expectations - analysing narrativesThe term theme is used to describe the underlying topic or issue of the narrative. This is often of a general or abstract nature, as distinct from the overt subject with which the work deals. It should be possible to express theme in a single word or short phrase such as ‘redemption through suffering’, ‘moral education’, or ‘coming of age’.

The term plot is used to describe the manner in which elements of the narrative have been arranged to create dramatic interest, suspense, and possibly surprise. This arrangement could be the withholding of certain information, rearranging the sequence in which it is revealed, or embedding mysteries which only become clear when a later piece of information is presented.

A surprising turn of events, or the unmasking of a hidden identity are well-known plot devices of traditional fiction. Contemporary readers might feel that such devices have been so over-used as to become poor clichés.


Narrative mode

It is the author who writes the story, But an author can choose to convey events using one of what are called narrative modes. The two simplest are the first person singular (‘I’) and the third person singular (‘he’).

It is also possible to have stories related by multiple narrators. This is a device often used to present events from different perspectives or points of view.

Modern writers have also introduced further complexities into their stories by using what are called unreliable narrators. These are first person accounts given by characters with a limited, distorted, or even mistaken understanding of events.


First person narrators

The author creates a character who tells the story from his or her own point of view. That character may or may not be part of the story. Charles Dickens’ famous novel David Copperfield (1867) is an example of someone telling their own life story and participating in its events as one of the characters in the novel. Dickens is the author, David Copperfield is the narrator, and he is also a character in the story.

F Scott-Fitzgerald’s novel The Great Gatsby (1925) is largely concerned with the mysterious and very rich Jay Gatsby, but it is narrated by Nick Carraway, one of his neighbours and also a participating character in the novel.

Fyodor Dostoyevski on the other hand has a first person narrator in Notes from Underground (1864) whose name we never know. Almost the entire events of the novella consist of what’s going on in his head.

First person narrators tend to create a strong relationship with the reader, and many authors exploit this attraction to make the narrator persuasive or acceptable. The important thing to keep in mind is that the narrator does not necessarily represent the author’s own personal opinions.

Sometimes the author may act as the first person narrator, or make little attempt to create a fictional constructed character. But readers should never assume that narrators are a direct reflection of the author’s own opinions.


Studying FictionStudying Fiction is an introduction to the basic concepts and technical terms you need when making a study of stories and novels. It shows you how to understand literary analysis by explaining its elements one at a time, then showing them at work in short stories which are reproduced as part of the book. Topics covered include – setting, characters, story, point of view, symbolism, narrators, theme, construction, metaphors, irony, prose style, tone, close reading, and interpretation. The book also contains self-assessment exercises, so you can check your understanding of each topic. The book was written by the author of these web page guidance notes.

Buy the book at Amazon UK
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Third person narrators

This is the most traditional manner of delivering narratives, in which the author creates a distance between author, character, and reader.

John Belstaff was a gentleman farmer who had lived at Aylesbury Reach ever since inheriting the property from his father twenty years previously. He had worked the land to profitable advantage during that time, and was now looking forward to a peaceful retirement.

All the information we have about such a character is presented to us by the author, and there is no intervening narrator. This gives the author an opportunity to create multiple characters in a single narrative, and to show events from their different points of view. If the author chooses to reveal the innermost thoughts and feelings of any characters, this approach is known as omniscient narrative mode.

Jane Austen uses a third person narrative mode for her novel Pride and Pejudice (1813). But part its charm is the ironic and witty authorial observations she scatters through the narrative.

It is a truth universally acknowledged that a single man in possession of a good fortune, must be in want of a wife.


Omniscient narrators

The term omniscient means ‘all-knowing’ or ‘all-seing’. It comes from the language of religion, and in this sense the author is presenting a God-like view of events in which the characters’ innermost thoughts, feelings, and aspirations are revealed.

Authors are at liberty to tell us as much or as little about their characters as they wish, but once they have chosen an omniscient mode of narration they cannot claim ignorance about any aspect of their story. Having said that, many of them sometimes do – in order to create the impression of honesty or an ordinary human intelligence at work.


Unreliable narrators

Many modern writers have created what are called unreliable narrators. In this case a story is told in the first person mode by a narrator who has flawed perceptions, a limited understanding of events, or who maybe even tells lies. In such cases the reader is given the additional task of unravelling the ‘true’ story from information some parts of which are misleading.

The Turn of the Screw - analysing narrativesA very famous case in point is Henry James’ ghost story The Turn of the Screw (1898). In this a governess to two children in a large country house provides a dramatic account of how they have been demonically possessed by the spirits of former servants who are now dead. The story has become famous because it can be interpreted in a number of different ways. The governess does not provide any evidence to support the claims she makes, and she invents scenes which nobody else in the story observes. However, the reader only has her account from which to make any sense of what is actually happening. It is only by comparing small details of her account that we can see that she is an unreliable narrator.

In fact this story has both a first person outer narrator, and an inner narrator who reads a copy of the written account of events created by the governess herself – making it an extremely complex thread to unravel.

Another (very amusing) example is Vladimir Nabokov’s novel Pale Fire (1962) in which his first person narrator Charles Kinbote edits a long poem in four cantos composed by an American writer who was his campus neighbour. On the surface, the poem is composed of scenes from the poet’s life and his philosophic reflections on domestic relationships.

But in a series of extended footnotes Kinbote analyses the poem in detail for hidden meanings. He reveals that it contains a subtly coded account of Kinbote’s own life, and his dramatic escape from eastern Europe which he had privately related to the poet as part of their friendship. Since the poet is dead, we only have Kinbote’s own word for the truth in any of his claims. However, Nabokov provides the reader with enough information to work out that Kinbote is a madman, and all his interpretations and literary detective work is a pack of lies.


The framed narrative

Many stories begin with a first or third person narrator who establishes the circumstances by which the story is known, In other words, somebody (named or un-named) informs the reader how the details of the story have come into being. The scene is set, or some prefatory knowledge is imparted. This takes the form of an introduction.

Then the main substance of the story is related, which constitutes the bulk of the narrative. This may be presented by the opening narrator, or it might be information from a different source – a second narrator, or a story passed on via letters or a diary from someone else.

At the end of the narrative, there is usually a return to the first narrator, who might reflect on the substance of what has been revealed. This is the ‘conclusion’ or the closing part of the overall narrative.

Such a case is called a framed narrative. An outer narrator passes the storytelling over to an inner narrator who relates the bulk of events.

Heart of DarknessA famous and much-discussed example is Joseph Conrad’s novella Heart of Darkness (1898). The story begins on board a ship moored in the Thames estuary, where a group of experienced seamen are reminiscing about their maritime experiences. An un-named outer narrator sets the scene, and then introduces Captain Marlow, who regales the company with the story of a journey he once made into the interior of Africa.

As readers we tend to forget all about the outer narrator, and even that the main events of the story are being spoken by Marlow. But at the end, when Marlow has finished his tale, the outer narrator comes back onto the page to ‘remind’ us that we are still on a ship in the Thames. The main narrative of a journey up an African river is ‘framed’ by the setting on the Thames, and the reader is implicitly being invited to draw parallels between the two.

© Roy Johnson 2012


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Filed Under: Literary studies Tagged With: Literary studies, Media, The novel, Theory

Anime

July 1, 2009 by Roy Johnson

Showcase of the latest digital animation – print and DVD

Don’t be misled if you see this book in a shop. It’s a dazzlingly attractive publication – an elegant catalogue of full-colour screenshots housed in a translucent plastic case. But the heart of the production is a huge collection of animated graphics on the enclosed DVD. These are movie clips, motion graphics, linear narrative sequences, interactive web pages, and vector presentations – some as long as promotional videos. They range from avant-guard art-school productions – fuzzy, out-of-focus, and granular – to slick commercial projects by some of the best designers in this new field.

AnimeQuite a few of the most stylish examples are rendered in the manner of French bandes dessinées and graphic novels – hard outlines, block colour, and a predominance of black and grey highlighted by occasional dark brown, blue, or citron. I’ve watched them over and over again, and I’m still amazed.

There’s lots of deliberately jerky editing, overlayering, jumpcuts, and out-of-focus images set to the rhythms of stripped-down, heavily sampled techno-music – sometimes drum-and-base dance style, and occasionally ‘ambient’ sound.

A lot of them are in what Web designer Curt Cloninger in his recent Fresh Styles for Web Designers calls ‘Drafting Table/Transformer’ style – the kind of things that look like docking station accidents in outer space. Others favour the ‘Mondrian poster style’ – screen filled with block colour in muted tones, and pared down text in lower-case sans-serif font.

There are lots of recurrent images and themes – architecture, motorways, metal fabrications, skyscrapers – and the spirit of Ridley Scott’s Bladerunner hangs over the majority. It’s a great pity there isn’t more technical detail on how these pieces were made – though Flash seems to be the prevalent technology.

Most of the movies seem to be from the ‘Yellow Submarine’ school of graphic design – lots of semi-surreal cartoon figures morphing in and out of each other. There’s also a popular streak of sci-fi comic book characters and their icons brought to life.

For me, the simplest and the shortest pieces are the best. There are two wonderful movie title sequences designed by YU + CO for ‘Mercury Rising’ and ‘Lost Souls’. These are in black and white, and they are largely composed of motion typography with a moody soundtrack. They show how a simple combination of image, movement, and music can create stunning effects.

This is not just a book with DVD attached, it’s an outstanding DVD gallery of motion graphics with a first rate printed catalogue. There is an amazing amount of visual stimulation material here for those studying or working in the digital arts. Anybody who is interested in graphic animation and the latest developments in Web technology should see these works.

© Roy Johnson 2001

Anime   Buy the book at Amazon UK

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Robert Klanten (editor), Anime, Die Gestalten Verlag, 2001, pp.192 pages ISBN: 3931126722


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Art of the Digital Age

July 22, 2009 by Roy Johnson

pictures, sculpture, installations, and web-art

Art of the Digital Age is a beautifully illustrated survey of the latest developments in art which has been generated digitally. Well, for ‘latest’ read ‘in the last ten or fifteen years’, because people were attempting to use IT for art even before the arrival of the Web. Bruce Wands very sensibly begins by defining ‘digital art’ – pointing out that many artists may use computers and digitisation in the preparation of works which are then executed by conventional means.

Art of the Digital Age His first section on digital imaging illustrates that perfectly. Many of the artists combine photography, painting, and scanned imagery – to produce data files which can then be projected into other media. He then moves on to show works which are categorised as ‘virtual sculpture’. In this genre, 3-D modelling software is used to produce wireframe shapes which can then be clad in a variety of skins or surfaces. The results can be sent as a file to a rendering studio which creates the object in a substances of the artist’s choice.

There is also 3-D printing, in which layer upon layer of a plastic coating can be applied to a surface until the result is a three dimensional shape. This can be the desired sculpture or a mould from which the finished work is cast. there are some slightly gruesome-looking organic forms here, but the constructivist work of sculptor Bruce Beasley (www.brucebeasley.com) stands out as possibly the most impressive work in the book.

On installation art I remained unconvinced. Much of it seemed like 3-D objects with light shows thrown in – though it is hard to judge an environment when it is only captured in a 2-D photograph. The problem here and elsewhere is that the term ‘art’ has been taken to mean ‘arty’. If the pages had been thrown open to the truly popular users of new technology, we could have had the work of those people whose works are viewed by up to ten million at a time on YouTube.

The same is even more true of digital music – though he ‘cheats’ by going back into performance and installation art which also happens to feature music. Video (which is now called ‘time-based media’) is another example where current commercial practice far outstrips the arty experimentalists

I followed up lots of the sources, and was amazed how few of the artists featured had their work available for view on their web sites – though the spectacular animations of Dennis H. Miller were an honourable and very worthwhile exception here (www.dennismiller.neu.edu). But when I arrived in the ‘Net Art’ section at work which allows you to connect interactively with snakes, I felt I could give that one a miss.

It’s a visually rich publication, marred only by the use of a sans-serif font for the body text which sits rather unsympathetically with the pictures; but this is offset by a richer-than-usual scholarly apparatus which includes a 1450—2006 IT timeline, a glossary, lists of further reading, a list of digital art resources, and a webliography of the artists featured.

© Roy Johnson 2007

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Bruce Wands, Art of the Digital Age, London: Thames and Hudson, new edition 2007, pp.224, ISBN 0500286299


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Blogging, Citizenship, and Media

July 20, 2009 by Roy Johnson

When blogging first took off, the mainstream media (MSM) poo-poohed it, saying it was a fad that wouldn’t last. Next, they started lifting ideas and news from bloggers and quoting them without attribution. Nowadays all newspapers and broadcasters have their own featured blogs and urge their readers to supply copy. They have been turned around within about ten years. So citizen journalism, as Dan Gillmor called it, has arrived and only a fool would pretend otherwise any more.

Blogging, Citizenship, and MediaMark Tremayne’s collection of academic essays takes this fact as a starting point and looks at the current state of blogging as a cultural phenomenon. What are the facts, as revealed? Well – that the number of blogs continues to rise exponentially, that most have single authors, the majority of whom are adult males, the most popular feature political comment, and that only a small percentage generate comments from their readers.

It’s pointed out that most blogs are in the form of personal diaries, but unlike conventional personal records they are intended to be read by others. And indeed, readers can add their own responses in the form of comments.

Whilst traditional journalism provides individuals with pictures of a world they cannot experience firsthand … blogs operate in the opposite direction, broadcasting the pictures in our heads back to a worldwide audience.

Many of the early chapters are academic studies of blog postings and activity – mainly focused on US political blogs around the period of the 2004 elections and the invasion of Iraq. There’s a lot of technical data related to the way comparisons were made, and the language of discussion is rather abstract and heavily jargonised

Homophily theory underlies Sunstein’s (2000, 2002) work on hate group polarization and cybercascades theories within the Internet’s effect as deleterious to democracy because it enlarges fragmentation, insulation, and enclave deliberation.

It’s largely a sociology of Web use, the motivation of bloggers and blog readers, and the reliability of sources. The latter part of the collection deals with the impact of blogging on traditional journalism. Does the freedom of the press enshrined in the First Amendment apply to bloggers? And if not, why not?

There’s also an extended consideration of international jurisdiction in libel and defamation cases. Where should a case be brought – in the country where the offending material is downloaded for reading, or where it is stored on servers? The answer to this question seems to vary, depending on the case, the country, and the legislation. The same is true of copyright infringement cases, though the good news is that the costs of prosecuting across national boundaries are so high that individual bloggers are unlikely to be pursued.

The main thrust of the pro-blog argument is supplemented by a report of a citizen journalism project – MyMissourian.com – which set up a community blog in one month using free open source Mambo software. Within a year it had gone from online blog to supporting a print edition.

Mark Tremayne sums up all these issues and looks at the future of both blogging and traditional media. It’s obvious that individual bloggers won’t suddenly replace large-scale news-gathering organisations, but they might have significant impact at a local micro-news level. News organisations might start to invite citizen journalists to create content (as the Guardian is already doing on its in-house blogs ‘Comment is Free’).

There’s also a future for individuals in database journalism in which existing sources are mined for original analyses and comment. And the Wikipedia project proves that the combined efforts of individuals can add up to an overwhelming whole.

What’s certain is that the print and broadcast media are losing their traditional audience and power, the bloggers are gaining in strength and number, and journalism has a new force to be reckoned with.

© Roy Johnson 2007

Blogging, Citizenship, and Media   Buy the book at Amazon UK

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Mark Tremayne (ed) Blogging, Citizenship, and the Future of Media, London: Routledge, 2007, pp.287, ISBN: 0415979404


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Bookseller jargon

February 11, 2013 by Roy Johnson

understanding the language of the book trade

Bookseller jargon
When buying second-hand books you’ll often come across bookseller jargon used to describe the goods they have on offer. These descriptions appear in both printed catalogues and on web site bookstores.

The bookseller is giving an accurate description of a book and its condition, but the description often contain lots of abbreviations and specialist terms (jargon). This can sometimes appear like a secret code, and might even include abbreviations of their own bookseller jargon terms.

There is a huge specialised vocabulary involved in the book trade – terms such as ‘foxing’ to describe discoloured pages, or ‘half-binding’ to indicate that the spine will be bound in a different material, usually leather.

It’s not necessary to learn all these terms, and you can often guess at the meaning of some of them. But knowing a few of the most common expressions can help you to get a better idea of what’s on offer – and save you from making a mistake.

Knowing something about this jargon can also help you to spot bargains when buying books for as little as a penny on Internet bookshop sites.


Bookseller jargon – example I

Let’s start with a fairly straightforward example from an advert on Amazon. It’s a second-hand copy of Charles Dickens’ novel Martin Chuzzlewit. The description is quite simple, but it does introduce a few bookseller jargon terms.

Published 1935, illustrations by Phiz. Burgandy boards with gold inscription to spine, author’s signature on front. Possibly published 1935. Corners bumped and boards a little grubby. Tanning to edges, Binding is pretty tight and very little staining to pages. A few pages turned at corners. Others in series are available. Quick dispatch from Oxford based hospice charity,

author’s signature – This is very misleading, because it’s not a signature. Dickens’ signature is printed on the cover.

Corners bumped – The corners of the book covers are bent or creased with use and age.That’s fairly normal in an old book.

Tanning – The colour of the covers is fading because of exposure to light.

Binding tight – The book will not open easily and generally does not want to remain open to any given page.

pages turned at corners – A previous reader has bookmarked pages by turning down the corner of some pages.

One interesting thing to note here is that the publisher is not mentioned. In fact the publisher is Odhams, and this series was a mass-produced very cheap edition. Copies are very easy to obtain anywhere – so the price being asked for this copy (£6.85) is far too high.


Bookseller jargon – example II

Here’s a relatively simple example from AbeBooks. It’s an advert for a first edition copy of Christopher Isherwood’s novel Goodbye to Berlin. You will notice that although the advert is descriptive, a few more bookseller jargon terms creep in.

Book Description: London, The Hogarth Press, 1939, 1939. Octavo. Original rough grey cloth, titles to spine in red, top edge stained red. With the dust jacket designed by Humphrey Spender printed in black and red with a photograph of a park scene by Hans Wild. Light partial toning to endpapers, an excellent copy in the lightly rubbed dust jacket with just a couple of minor nicks and creases. First edition, first impression. Published March 1939; 3,550 copies printed.

Octavo – This is the size of the book – five inches wide and eight to nine inches tall.

toning – One of many euphemisms booksellers use to describe the discoloration of paper with age.

endpapers – The sheets of paper pasted onto the inner covers of the book

lightly rubbed – This is wear caused to the edges of the book or its dust jacket as a result of being moved on and off a shelf. Another term might be ‘scuffed’.

nicks and creases – Nicks are small cuts or abrasions, and creases are permanent folds in paper which often occur on book jackets and inner pages.

first impression – The book comes from the first batch to be printed for this title – this is a guarantee of the book’s rarity.

As you can tell from this, book collectors are very concerned about the physical condition of the books they buy — with good reason. This one was for sale for £3,750.00


Bookseller jargon – example III

Here is a much more detailed and complex example. This an advert for a set of volumes which are a genuine rarity and an antiquity from the eighteenth century essayists Addison and Steele.

Addison, Johseph; Steele, Sir Richard. THE SPECTATOR. London: Printed for J. and R. Tonson and S. Draper 1749.
8 vols. T.p. devices., engraved frontiss., dec. head and tail pieces. Some sporadic very light browning, ex-libris Sir Thomas Miller Bt. and with sm. ownership signature, top edge of a couple of leaves in vol. 4 sl. chipped, slightly rubbed gilt filleted edges with some sl. wear to corners, full speckled calf with some minor light staining to a couple of boards, raised bands dec. gilt compartments and leather title labels to rubbed and slightly chipped spines..
£125.00

Eight volumes – This is a genuine eighteenth-centry collection for only £120.00 – which seems good value to me.

T.p. devices – Title page with devices. This page lists the title and any subtitle; the author; the publisher; and the printer.

engraved frontiss – This is an engraved illustration at the beginning of the book, usually facing the title page.

dec. head and tail pieces – A decorative ornament found at the start of a chapter or a division in a book (very common in the eighteenth century).

very light browning – This is signs of discolouration in the paper – an indication of its age.

ex-libris – A Latin term which means ‘from the library of’. This is often indicated by a small label pasted into the book’s inside cover.

sm. ownership signature – A small signature of a (or the) previous owner.

sl. chipped – Slightly chipped. This usually means that small parts of the page are missing or frayed.

gilt filleted edges – Fillets are decorative lines impressed on a book cover. These have been rubbed, and perhaps lost some of the gilding.

sl. wear to corners – Worn perhaps as the books have been taken on and off shelves.

full speckled calf – The volumes have been bound in leather – and ‘speckled’ means the calf’s hide has been treated to create small dark spots or specks.

boards – This is the heavy-duty cardboard used in the construction of the book covers.

slightly chipped spines – Futher signs of use and age. This is to be expected on something three centuries old.


Red button A full glossary of bookseller jargon

Red button Common abbreviations used by booksellers

Red button Book formats and sizes

© Roy Johnson 2013


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Content: Copyright and DRM

December 2, 2009 by Roy Johnson

Selected Essays on Technology, Creativity, Copyright, and the Future of the Future

Cory Doctorow is a young Canadian freelance writer and web entrepreneur who lives in London. He’s an editor of Boing-Boing and former director of the Electronic Frontier Foundation; he writes science fiction novels, and he gives his work away free of charge – yet makes a living from his writing. How can it be done? That’s one of the things he explains here. Content: Copyright and DRM is a collection of speeches, essays, and articles he has produced in the last few years, proselytising in favour of open source software, against digital rights management (DRM) systems, against censorship, on copyright, and in favour of the free exchange of information, unhindered by state controls or commercial prohibitions.

Content: Copyright and DRMAt their most fervent, his arguments come across like those of a students’ union activist – but he’s brave. He speaks against Digital Rights Management (DRM) to an audience at Microsoft. The reason he’s a successful journalist is that he understands new media technology, and he has a gift for wrapping up his arguments in a vivid and succinct manner:

Books are good at being paperwhite, high-resolution, low-infrastructure, cheap and disposable. Ebooks are good at being everywhere in the world at the same time for free in a form that is so malleable that you can just pastebomb it into your IM session or turn it into a page-a-day mailing list.

He has a racy and amusing journalistic style. He writes in short, almost epigrammatic statements with a no-holds-barred attitude to any potential opposition.

As Paris Hilton, the Church of Scientology, and the King of Thailand have discovered, taking a piece of [embarrassing] information off the Internet is like getting food colouring out of a swimming pool. Good luck with that.

Some of the items are quite short – quick reprints of web pages from the Guardian technology section – but they are all pertinent to the issues of creativity and new media. Why for example does the best eCommerce site in the world (Amazon) want to control what you do with your Kindle downloads? Doctorow argues that these are short-sighted policies which prevent the spread of information and the creation of new developments.

He’s gung-ho about the business of eBooks and eCommerce. He makes his books available free as downloads on the Internet, confident that this will result in more sales of the printed book. There’s no actual proof that it results in more sales – but he’s happy with the results, and so is his publisher, and the publicity gives him income from other sources, such as journalism and speaking engagements.

Having said that, more than 300,000 copies of his first novel were downloaded for free, resulting in 10,000 printed books sold. As he argues, that’s like thirty people picking up the book and looking at it in a bookstore for every one who made a purchase. But the thirty pickups cost almost nothing, and I think many authors would be very happy with sales of ten thousand.

[It should be remembered that the average full time writer makes approximately £3,000-5,000 a year – and if you look at that in terms of a forty hour week, it’s less than £2.50 per hour.]

The sheer range of his subjects is truly impressive. There’s a chilling insider report from a committee discussing DRM, an essay on a sub-genre of science fiction writing called fanfic, and even a satirical piece calling into question the limitations of meta-data.

He’s at his strongest on the subject of copyright – and that includes the rights of the person who buys the book, the film, or the MP3 music file. The author has the right to be paid for selling it to you, but you have the right to do with it (almost) whatever you wish.

He has any number of interesting things to say about the nature of eBooks – from their apparent problems, their multiple formats, and their malleability, to the issues surrounding copyright. And the encouraging thing is that he writes not just in theory but as a working writer who is exploring the eBook business and what it can do – for both authors and readers.

If you want to know what’s happening at the sharp end of digital publication and new ideas about the relationships between authors and their readers – do yourself a favour and listen to what he has to say. You might not agree with it all, but it will give you plenty to be thinking about.

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© Roy Johnson 2009


Cory Doctorow, Content: Selected Essays on Technology, Creativity, Copyright, and the Future of the Future, San Francisco: Tachyon Publications, 2008, pp.213, ISBN: 1892391813


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Design for Multimedia Learning

May 26, 2009 by Roy Johnson

software and media for creating learning programs

In the rapidly developing world of IT and multimedia, it’s strange to be reviewing a book published three years ago – and probably written at least a year before that. Some of the programs discussed by Tom Boyle in this survey will by now be ‘legacy software’ – but the fact is that some of them are still being used. His book is in four parts. The first provides a critical review of work in the field – from resource-based learning, through simulation and virtual experience to guided discovery learning.

Design for Multimedia Learning This includes consideration of programs such as Speakeasy, the Web, DOVE, Braque, and CLEM – [CORE Learning Environment for Modula-2]. The second part deals with conceptual design – the devising of the deep architecture of the system. Part three deals with presentation design. This covers screen layout, media integration, and the design of individual media – text, graphics, sound, and video. One of the virtues of the book is that it is so wide-ranging. It deals en passant with programs such as Toolbook and systems such as HTML – which was sill being viewed as a rather limited option in the mid 1990s.

Boyle covers moving objects and sound – both of which are conversely viewed rather sceptically in Web circles as distractions bordering on the unnecessary. However, there are circumstances in which these features are necessary. One of the examples discussed and illustrated is a training program showing how to install a hard disk in ‘Build Your Own Personal Computer’. There are other disciplines in which digitised video is essential. A colleague of mine is currently grappling with comparable issues in a teaching hospital, where video clips of operations are put on CD-ROM as seminar support materials.

Part four deals with project development, evaluation, and delivery of teaching programs. It’s all written in a lively and informative style, but the question remains, ‘Are such books superseded by the rapid development of software?’ My answer is ‘No – on two grounds’. First, it’s good to have a historical record of software development. Just as people are now beginning to collect and archive old computers [some of them less than twenty years old] so a well-documented account of the programs which were written for them will become increasingly important.

The second reason is that some of the basic design concepts and the architecture of these older programs may well appear to have been superseded by recent developments. But anyone who uses something as common as a word-processor knows that more features do not always result in improved functionality. At any time, some of these older approaches could be resuscitated for the simplicity and elegance of their design.

© Roy Johnson 2000

Design for Multimedia Learning   Buy the book at Amazon UK

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Tom Boyle, Design for Multimedia Learning, London: Prentice Hall, 1997, pp.240, ISBN: 0132422158


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Filed Under: Media, Online Learning Tagged With: Education, eLearning, Media, Multimedia, Online learning

Developing Feeds with RSS and Atom

June 26, 2009 by Roy Johnson

web services for bloggers

What’s a ‘feed’? And what are RSS and Atom? Answer – a feed is the automatic distribution of information from someone’s blog or web site, and RSS (Really Simple Syndication) and Atom are the technologies which deliver this information to your desktop. A friend recently emailed me someone’s blog entry. It discussed in excited terms the emergence of Web 2.0 or the Semantic Web. This is the next development for the Web whereby computers will be able to understand the meaning of and the relationships between documents and other data. Automatic web ad blog feeds are one part of that development, and Ben Hammersley’s timely manual is an introduction to the technology involved.

Developing Feeds with RSS and AtomHe is a very active technology journalist and blogger, and he knows whereof he speaks. First he explains the history of how there came to be two competing sets of standards – which is more interesting than you might imagine from that description. The advantages of accepting automatic feeds from others are fairly obvious, but why supply your own? Hammersley is in no doubt: it increases traffic to your site; helps with search engine rankings; improves relations with your users; and makes the Internet an altogether richer place, pushing semantic technology along and encouraging reuse.

For reading other people’s feeds, he describes both the available web-based readers and downloadable software. You can even receive feeds as email or on a mobile phone.

The central section of the book describes a variety of feeds and shows you the scripts you might need to implement them I say ‘might’, because for most people all this will be done for you using templates at sites like Blogger and Moveable Type. However, knowing the code gives you more control – and it isn’t all that complicated if you know some basic HTML or XML.

Assuming that you wish to publish a feed from your own blog or web site, he devotes a handy chapter to showing you how to maximise the chances it will be circulated and read.

He ends by offering a collection of recipes for creating and using feeds to do things such as keeping track of “404 Page Not Found” errors on your web site; downloading your favourite comic strip each morning; generating your own wish list at Amazon; automatically checking web pages are W3C valid; and receiving regular weather forecasts for your area.

He ends with what is one of the hallmarks of these O’Reilly publications – a comprehensive and annotated list of tools and resources. Most of these are free – so if you are interested in receiving or publishing feeds, you can start right now.

© Roy Johnson 2005

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Ben Hammersley, Developing Feeds with RSS and Atom, Sebastopol: CA, O’Reilly, 2005, pp..253, ISBN 0596008813


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Dictionary of Media and Communications

February 6, 2011 by Roy Johnson

definitions and explanations of new media terms

Dictionary of Media and Communications is an attempt to solve an interesting problem. I once bought a dictionary of computer technology (as it was then called). It was huge, comprehensive, and was written by an expert. Twelve months later there were terms I needed to look up that simply weren’t in there. That’s how fast new language is being created in the field of information technology (as it is now called). The same is largely true for media and communications. But in the meantime publishers have realised that works of this type need their own web sites that are regularly updated.

Dictionary of Media and CommunicationsDoes this mean that dictionaries in the form of printed books are obsolete? I think not – because for most people it’s still more convenient to reach a book off the shelf to solve a problem or look up a definition. And that’s quite apart from the secondary pleasure of reference books – making those serendipitous discoveries on adjacent pages.

With definitions of 2,300 terms this is without doubt the most comprehensive in its field. But its unique selling point is that terms are defined in a variety of contexts. Nuances of a term may vary depending on its use in semiotics, sociology, or film making. Entries run from aberrant decoding and above-the-fold via McLuhanism and male gaze, to yaw, zapping, and zoom. A typical entry reads as follows:

hypertext 1. A method, devised by Berners-Lee as part of his *World Wide Web software, of embedding omni-directional *links within a given digital *text (encoded in the form of an *HTML document and displayed on a *web browser) which connect to other HTML texts without the need for extra navigation. For example, a selected word of a text document or an area of an image document is defined as a *hyperlink which, when clicked on, loads the document at that address into the browser window. Hypertext is designed to be media independent (a text can link to a sound file, an image, or even a location in a *virtual world.) which makes it a *metonym for the versatility of *digital media generally. 2.2. A visionary concept of Ted Nelson (an American new media theorist, b.1937) for a *human-computer interface in which computers present a given text from multiple viewpoints, making it a malleable object that can be ‘played with’ in order to deepen a person’s understanding. For example, a hypertext version of Hamlet’s ‘To be, or not to be’ soliloquy might consist of a standard edition of printed text, a facsimile of the earliest known version, a video recording of a performance, critical notes, and articles – all of which could be expanded from or collapsed back into the original text by clicking on a series of bi-directional links.. 3. For Genette, literary works which derive from, relate, or allude to an earlier work see also INTERTEXTUALITY. 4. Any text structured in a way that is nonlinear or non sequential, having no clear beginning, middle, and end, or in which the reader has control over the sequence. Where such texts link to others through *hyperlinks, the boundaries of the text may be blurred or the text may be perceived as unbounded.
See web links – Project Xanadu

It also has a listing of micro-biographies of major theorists and practitioners, plus a bibliography of suggested further reading. The compilers deny the existence of ‘key entries’, but many of the important entries are cross referenced and linked to the book’s web site.

The fields of reference include literary studies, semiotics, digital technology, broadcast media, journalism, film studies, psychology, and cultural theory. It’s aimed at people studying in any of these disciplines, but the definitions and explanations are accessible to the general reader.

Dictionary of Media and Communications   Buy the book at Amazon UK

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© Roy Johnson 2011


Daniel Chandler and Rod Munday, Dictionary of Media and Communication, Oxford: Oxford University Press, 2011, pp.472, ISBN: 0199568758


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Digital Filmmaking

June 18, 2009 by Roy Johnson

professional advice on embracing new technology

Mike Figgis is the director of one of my favourite films, Liebestraum, as well as the much better known Leaving Las Vegas. He’s multi-talented as a director, a musician, and a writer; but like most film directors (most recently David Lynch) he’s now embracing the new possibilities of digital filmmaking. Suddenly, all the laborious paraphernalia of the Hollywood film-making process can be concentrated into a cheap hand-held digital camera that we could buy from Amazon for less than the price of an entry level laptop.

Digital FimmakingFiggis has taken on the new possibilities that these technological developments have made available. And in this book he’s sharing his reflections on the art of film-making in a way which is addressing both an amateur YouTube enthusiast or a serious film school would-be at the same time.

And none of his advice is theoretical: he’s actually using the new technology in making his own films. It’s not so much a book of practical tips: this is more the philosophy of film-making. But he’s acutely anti-snobbish about using the new equipment available. His emphasis is on the love of your equipment – get to know it, use its features, and don’t imagine your talent is being held back by lack of access to the latest kit.

It’s a terrific insight into the consciousness of a creative person: he thinks out loud concerning the creative process – all the time keeping in mind the practical matters of the medium in which he is working and how much it costs.

As the story progresses from one level of film technology to the next, you can feel his creative hunger coming off the page. Instead of telling camera and lighting technicians what you’re looking for, why not do it all yourself? Which is what he did – even after being enmeshed with Hollywood. Indeed, as he argues, especially after being so. The new technology puts more control into the hands of the director.

He goes into a lot of interesting professional detail on such matters as lighting, camera movement(s) and dealing with actors – on all of which issues it seems he likes being in control, but with a sympathetic respect for the professionalism of others.

I was interested to note that when it got to the point of post-production editing, he dealt with the problem of having so much, in fact too much material – and the solution to this problem is what’s called in the IT world ‘meta-tagging’ – that is, you need to name and log what you’ve got, in order to control the architecture of the final product.

His two final topics are music on soundtracks and film distribution – on both of which he knows whereof he speaks. He’s a qualified music teacher and a former keyboards player with Roxy Music. It was his soundtrack for Liebestraum which first alerted me to the quality of his work. He has lots of ingenious suggestions for independent filmmakers and ideas galore for anybody who is prepared to engage in new digital technology.

It’s a pity the book isn’t illustrated – because from the text it’s quite clear that Figgis makes a detailed record of his work process, and it would have been useful to see a few screenshots of the effects and techniques he’s talking about. But as a guide to the new possibilities of film-making, it’s truly inspirational.

© Roy Johnson 2007

Digital Filmmaking   Buy the book at Amazon UK

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Mike Figgis, Digital Filmmaking, London: Faber, 2007, pp.158, ISBN: 0571226256


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Filed Under: Media Tagged With: Digital Fimmaking, Film, Media, Open Sources

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