VYTAUTAS MAGNUS UNIVERSITY

FACULTY OF POLITICAL SCIENCE AND DIPLOMACY

DEPARTMENT OF PUBLIC COMMUNICATIONS

Hassan Khalil

CULTURE PRODUCTION & CONTENT CREATION IN THE NEW

MEDIA ECOLOGY: THE CASE OF ‘’TURTLE VISION STUDIO’’ &
NONFICTION ONLINE STORYTELLING (CREATIVE PROJECT)

Master final thesis

Future Media & Journalism Study program, state code 6211JX064

Degree In Journalism

Supervisor: Prof. Rimantas Plunge

(acad. Title, name, surname)
Defended: Prof. Dr. Sarunas Liekis
(Dean of faculty)

Kaunas 2024

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 VYTAUTAS MAGNUS UNIVERSITY

FACULTY OF POLITICAL SCIENCE AND DIPLOMACY

DEPARTMENT OF PUBLIC COMMUNICATIONS

Hassan Khalil

KULTŪROS GAMYBA IR TURINIO KŪRIMAS NAUJOJE MEDIA

EKOLOGIJOJE: ATVEJAS ‘’TURTLE VISION STUDIO’’ IR
NENFICTION INTERNETINĖ ISTORIJA (KŪRYBINIS
PROJEKTAS)

Master final thesis

Future Media & Journalism Study program, state code 6211JX064

Degree In Journalism

Supervisor: Prof. Rimantas Plunge

(acad. Title, name, surname)
Defended: Prof. Dr. Sarunas Liekis
(Dean of faculty)

Kaunas 2024

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 Table of Contents

Introduction ............................................................................................................................................8

1. ELEMENTS OF STORYTELLING AND CULTURE PRODUCTION IN THE NEW MEDIA

ECOLOGY ..........................................................................................................................................11

1.1 Technological Convergence, Content Choices and Culture Production .........................................11

1.2 The Power of Dialogue ...................................................................................................................13

1.3 Concepts of Literary Realism & New Journalism ..........................................................................15

1.4 Concepts of Video Realism ............................................................................................................17

2. CREATIVE PROJECT DESIGN .................................................................................................20

2.1 Creative Project Design ..................................................................................................................

2.2 VICE: Mastering of the Art of Reportage.......................................................................................22

2.2 Dogwoof .........................................................................................................................................24

2.3 Intersection of Video Realism and New Journalism ......................................................................29

3. CREATIVE PROJECT: TURTLE VISION STUDIO ...............................................................31

3.1 Why Turtle Vision Studio ..............................................................................................................29

3.2 Nonfiction Writing .........................................................................................................................31

3.3 Video Journalism ...........................................................................................................................35

3.4 Identifying my Niche ....................................................................................................................37

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3.5 Identifying Visual Identity ............................................................................................................38

CONCLUSION ..............................................................................................................,,,,,,,,,,,,,,,,,,,,39

REFERENCES ...................................................................................................................................42

APPENDICES ....................................................................................................................................44

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SUMMARY

This creative-applied research explores concepts for online nonfiction storytelling to answer the
question of endurance in the fleeting new media ecology of today. The work examines the processes
and practices of nonfiction storytellers that are integral in shaping the culture around them and
affecting the final output of their online presentations. The main objective of this work is 1) to identify
enduring qualities for online nonfiction content, 2) Emphasize the aspects of culture production online
via processes and practices of content producers, and 3) present creative outputs in relation to the
context produced in this work.

This creative project studies the potential of unifying video realism with the four literary devices of
new journalism: scene by scene construction, realistic dialogue, third person point of view, and
recording everyday details posited by Tom Wolfe (1975) to output enduring online content. This paper
will discuss the effective concept of connecting video realism with the principles new journalism via
assessing two case studies who successfully intertwined both worlds for narrative depth and emotional
volatility to create enduring online storytelling. This creative project utilizes effective storytelling
techniques that merge stylistics from both disciplines.

Regarding the research methods employed for this research are purely qualitative methods such as
interviews and observation as it suitable in analyzing dialogue and enduring online models. On top of
that, recorded interviews and a creative project, Turtle Vision Studio, were a part of the methods for
this work. The longer-term objective of the commencement of this paper is the production of a
successful Online channel, Turtle Vision Studio.

This study has shown that innovation, educative, and community values coordinated with stylistic
impression may be directionally proportional to enduring online nonfiction content, along with capacity
of presenter or channel to find a specific niche, target a particular audience, and find authentic voice.
The work identifies therefore stylistic methods and techniques for multimedia content creation and
online storytelling, while presenting pragmatic reflections, to understand how processes by which
stories are told online may facilitate personal and collective culture shaping, to differentiate between
various formats of online storytelling in their relative effectiveness and time enduring values, and

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present creative created subsequently using insights from the accumulated work. This research can
serve as a formal inspiration for current or future online nonfiction storytellers.

Keywords: Content Creation, Nonfiction, Online Storytelling, Turtle Vision, New Media Ecology,
Dialogue, Language, Endurance

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Santrauka

kūrybiškai taikomajame tyrime nagrinėjamos internetinės negrožinės literatūros istorijų pasakojimo

koncepcijos, siekiant atsakyti į ištvermės trumpalaikėje naujųjų laikų žiniasklaidos ekologijoje
klausimą. Darbe nagrinėjami negrožinės literatūros pasakotojų procesai ir praktika, kurie yra
neatsiejami formuojant juos supančią kultūrą ir daro įtaką galutiniam jų internetinių pristatymų
rezultatui. Pagrindinis šio darbo tikslas yra 1) nustatyti ilgalaikes internetinio negrožinės literatūros
turinio savybes, 2) pabrėžti kultūros kūrimo internete aspektus per turinio gamintojų procesus ir
praktiką ir 3) pateikti kūrybinius rezultatus, susijusius su šiame darbe sukurtu kontekstu. .

Šis kūrybinis projektas tiria galimybes suvienyti vaizdo realizmą su keturiomis naujosios žurnalistikos
literatūrinėmis priemonėmis: scenos konstravimu, realistišku dialogu, trečiojo asmens požiūriu ir Tomo
Wolfe'o (1975) pateiktų kasdienių detalių įrašymu, kad būtų pateikta ilgalaikė. internetinio turinio.
Šiame straipsnyje bus aptarta efektyvi vaizdo realizmo ir naujosios žurnalistikos susiejimo koncepcija.
Kūrybiniame projekte naudojami veiksmingi pasakojimo būdai, kurie sujungia abiejų disciplinų
stilistiką.

Kalbant apie šiame tyrime taikomus tyrimo metodus, tai yra grynai kokybiniai metodai, tokie kaip
interviu ir stebėjimas, kurie tinka analizuojant dialogą ir ilgalaikius internetinius modelius. Be to,
įrašyti interviu ir kūrybinis projektas „Turtle Vision Studio“ buvo šio darbo metodų dalis. Ilgalaikis šio
straipsnio pradžios tikslas – sukurti sėkmingą internetinį kanalą „Turtle Vision Studio“.

Šis tyrimas parodė, kad inovacijos, edukacinės ir bendruomenės vertybės, suderintos su stilistiniu
įspūdžiu, gali būti kryptingai proporcingos ilgalaikiam internetiniam negrožinės literatūros turiniui, taip
pat pranešėjo ar kanalo gebėjimui rasti konkrečią nišą, nukreipti į konkrečią auditoriją ir rasti
autentišką balsą. Todėl darbe nustatomi stilistiniai daugialypės terpės turinio kūrimo ir internetinio
istorijų pasakojimo metodai ir technikos, pateikiant pragmatines refleksijas, siekiant suprasti, kaip
procesai, kuriais istorijos pasakojamos internete, gali palengvinti asmeninės ir kolektyvinės kultūros
formavimąsi, atskirti įvairius internetinio

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pasakojimo formatus jų giminėje. efektyvumą ir laiko išliekamąsias vertybes bei pristatyti vėliau
sukurtą kūrybą, panaudojant sukaupto darbo įžvalgas. Šis tyrimas gali būti vadovas dabartiniams ar
būsimiems internetiniams negrožinės literatūros pasakotojams.

Raktiniai žodžiai: turinio kūrimas, negrožinė literatūra, internetinis pasakojimas, vėžlio vizija, naujųjų
medijų ekologija, dialogas, kalba, ištvermė

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Introduction

Relevance of topic

In the ever-changing digital media landscape, the importance of creating content that not only grabs
attention but also stands the test of time in its vocational value is paramount for content creators and
media companies. Storytelling is a form of communication that is as old as mankind. ‘’Journalists do
not write articles. Journalists write stories.’’ (Alan Bell 2005, p.397) Online story telling has become a
dominant practice among institutes, businesses, creatives, and journalists alike to present their identities
or extend it. It is challenging, at first glance of a fleeting digital media market, to identify or quantify
what components make for enduring content. Online stories that could stand the test of time in their
artistic or educational value involve a style of presentation that may evoke emotion via use of linguistic
stylistics or other means of multimedia expression; some of the means of online storytelling will be
subject to inquiry in this work. Beer and Burrows (2007) address the reality of our times in their
statement that ideas and technologies that we feel, or think a-e well established, turn out to be
ephemeral Afterall. Ideas could appear out of date in a very short span of space-time. Universality in
message cannot be quantified, it can be assessed through successful examples. Therefore, assessing the
problem of endurance can ensure that quality and value to be considered before content production may
proceed.

The driving argument of the thesis is that the attitudes, feelings and rhythms that guide the use of
technology ultimately guides the culture of content creation and its consumption in direct proportion.
The prospects for culture shaping are immense and thrilling. The new media ecology offers variability
of choice and path taking with regards to accessing perceptions and perspectives, in consequence
penetrating all aspects of culture. The role played by rapid growth in digital media platforms is the
proliferation of content at an unprecedented rate, for which individual stories are finding it hard to cut
through the noise and keep afloat. From this context, the nature of video realism being persuasive, with
the sense of authentic, unfiltered representation of reality, presents a foundation strength in online
storytelling if combined with other tools of storytelling effectively. However, the enduring appeal of
any content is not solely dependent on authenticity but to a further degree on narrative depth and
emotional resonance. Furthermore, another central aspect for storytelling and character introduction is

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dialogue. Podcast via the power of dialogue is a reigning sensation of the new media ecology platforms
today; therefore, the power of dialogue deserves inquiring in this work. New Journalism, which
originated in the '60s and '70s, diversified traditional reporting by adding literary techniques to its
artillery and offering a new means for storytelling. By adopting the devices of literary realism, the
dominant format of the new media ecology of today, the video, may be turned into a more narrative
forming expression with degrees of emotional volatility that may contribute to the stories’ endurance.

The novelty of the work

The work presents an overview of online storytelling devices and how they may overlap to create
emotional volatility that may pass the test of time in its enduring value.

This work will investigate a proposed hypothesis that fusing video realism with the four literary
devices of New Journalism (scene-by-scene construction, realistic dialogue, third-person point of view,
and the recording of everyday details) could give online stories a dramatically enhanced longevity, as
well as continued impact. This intersection crystallizes an incipient paradigm shift in digital
storytelling; a shifting zeitgeist that redefines the standards for engaging, informative, and enduring
online stories.

Therefore, the object of this work is the technologies of convergence, storytelling techniques,
innovative media companies, and Turtle Vision Studio.

The aim of the thesis is to identify stylistic methods and techniques for multimedia content creation
and online storytelling, while presenting pragmatic reflections, to understand how processes by which
stories are told online may facilitate personal and collective culture shaping, to differentiate between
various formats of online storytelling in their relative effectiveness and time enduring values, to answer
the question of endurance, and present creative works I have created subsequently using insights from
combined insight through qualitative data in addition to the literature review. Furthermore, apply some
of the techniques learned into the Presentation of the creative works in the style of nonfictional literary
realism and video journalistic works: citizen journalism series and short documentary series.

The objective of this work is to provide preferences for stylistic online storytelling, while
understanding the culture shaping element of the technology for both content creators and audience in

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the net that is media ecology, and subsequently present potential answers to the problem of endurance,
and present creative works through my creative channel Turtle Vision Studio.

Within these objectives, the following research questions will be answered

1. What are the propositions of the culture producing technologies for content creators?
2. Can the integration of the four devices of new journalism with video realism provide enduring
content?
3. What are the most important storytelling features and techniques provided so far in the
multimedia context of expression. (With emphasis on storytelling techniques for video, the most
reigning medium of storytelling today)

Methods

VICE and Dogwoof known for their innovativeness in and integration of new journalism and video
realism aesthetics, will be subject to analysis. The analysis will then identify and assess the application
and efficiency of video realism as well as techniques of New Journalism. Structured and unstructured
interviews are conducted with Rugile Matuseviciute, Delfi journalist, tv and radio presenter, Simona
Cia, TEDX Kaunas organizer and Vbiz culture podcast creator, and Laura Barzdaitiene, Kauno Diena
veteran online journalist, to gain relevant insight and question aspects of endurance, niche, and
journalism practices in the new media ecology. A survey was conducted with media consumers to
provide relative insight to the questions asked thus far.

Structure of the Thesis

The structure that the thesis will follow is as follows: After the introduction, a literature review will be
presented delving in topics with themes of choice assertive technologies, culture shaping paradigm for
media consumption and production, the power of dialogue, online storytelling techniques for bloggers
and vloggers, the four devices of new journalism, the art of reportage , video realism, and finding the
niche. Subsequent chapters shall present case studies of two successful media companies and provide
analysis, discussing implications of the analysis, then present the creative project ‘’Turtle Vision
Studio’’ and finally the conclusion.

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1 Elements of Storytelling and Culture Production in The New Media
Ecology

The media today offers great opportunities for inclusivity and diversity, with its new perspectives on
selfhood and how we live (Rob Clover 2023, p.3) Nicholas Gane and David Beer identify the six
primary pillars of new media as network, information, interface, interaction, simulation, and archive.
These six advocates have the capacity to collaboratively or individually alter elements of our individual
and shared culture via the diverse characteristics of population and personalized or collective
technology use. The role of producing and consuming visual language, logos, stories, and ideas has
undergone significant transformation in this digitally interconnected marketplace. Online actions may
be seen as a type of performance. Judith Butler's (1999) performative value engages in process,
language, culture, thus onsetting and new effect of identity. During my interview with Simona Cia,
TEDx Kaunas ex co-organizer and Vbiz culture podcast curator, she mentioned the power of choice
shaping culture. In her words she stated: ‘what we search on domains like google shapes our culture’
she suggests how our thoughts and emotions are linked to this performance of searching, and in return
our choices, shape our identity. Too much choice is detrimental to the human mind according to
Roberte Greene (2023); therefore, the act of filtering out information and taking in what is most
relevant is applicable for both the audience and the online nonfiction storyteller, as they shape the
digital space, they cohabitate. The nonfiction online storyteller has the responsibility of choice of
content and target audience.

1.1 Technological Convergence, Content Choices & Culture Production

Media work may be seen as a specific manifestation of cultural production, occurring inside and
outside institutional boundaries, including both experts and non-experts, and spanning many forms of
media. The production of culture approach enables the analysis of cultural creation across many
contexts. (Deuze, 2007) Content creators and online journalists, along with audiences now have the
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ability to personalize and customize the powers of computing and expressions to create elaborate
digital space that reflects one’s inner cores and values. A new culture is emerging because of the ways
in which technology is utilized. This culture is influenced by both individual and collective actions in
using technology. The creation of culture, which is a component of social structure, is neither
controlled by individuals nor large corporations. One stream of theory that builds both culture and
social structure as elements in an ever-changing mosaic. The production of culture perspective
(Peterson & Anand, 2004) looks upon how systems through which the symbolic elements of culture are
produced, distributed, evaluated, taught, and preserved shape their form and content (Peterson &
Anand, 2004) Therefore equal emphasis could be addressed to the methods by which the online content
is produced as much as the end product presented. The processes and ways technology are personalized
curate storytelling. Technology plays a vital role in the production of content and establishing
professional identity. Identity is expressed by means of story expressed as an image or linguistic
description online or other. Lash (2002) argues that cultural representation is inseparable from social
and economic domains. According to him, culture and society have undergone technological
transformation. He is perplexed by the notion that new media has become central to society, suggesting
that the conventional approach to cultural criticism must adapt or alter its lines of investigation. Lash
(2002) sought to examine the impact of technology on culture and society. A paradigm that
recontextualizes the conventional framework organically and engenders new global viewpoints derived
from information theories. New media technologies can produce an online collective memory that is
like a widespread meta field of database, due to its archiving function. This archiving capability, for
instance, may then function in patchwork with the other primary pillars of the new media ecology. This
is an example of a facet of culture production, whereby the capacities and extensiveness of use and
customization of the online media ecology may affect the processes and behavior in the online ecology
and without.

Furthermore, following on the notion of online choices, according to Margaret Simons, Independent
media has always been rising and falling at the same time and there has been a massive transfer of
power to the audience today, as they have many options of choice and participation. According to her
all media is hardly independent, in the sense that it has to depend on something to varying extents
whether technology, trend, or other. Jody Berland suggests that media, as cultural technologies, not
only provide information but also shape the ways in which we consume that content. (1992) These
consuming practices are material activities that have their own structural implications and tensions. In
his critical history of technology, Langden argues that technologies are not only tools for human action,
but also influential forces that alter and redefine that activity and its significance. (1986) Langden
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argues that technological convergence has become the alchemy of our age, transmuting the way stories
are created, consumed, and embedded in culture. From immersive experiences to global connectivity,
new technologies are not just tools for storytellers but catalysts that reshape the very fabric of our
cultural narratives.

Finally, Multimedia capability allows online storytellers to have the best of all worlds; the detail of the
printed story. The ‘’theater of mind’ ’imagery of sound, and the emotional impact of the moving
picture (James C. Foust 2005, P.13). In His book Online Journalism, James C. Faust thoroughly
described the advantages of online storytelling in that it is interactive, immediate, easily stored and
retrieved, and archived in nonbounded space, can do with audience control, and multimedia capability.
(2005) Online storytelling allows for a new level of audience control, unprecedented before. For the
first time, audiences have the power of content choice and online content producers have the power to
focus their efforts or selectively promote for a targeted aud ience. Unity means that the overall design of
the page or channel creates the impression of a coherent whole presentation. All of the design elements
of text, graphics, color, and grid are now eligible for customization and potential to behave as a unity.
James C Foust continued to describe the importance of web design elements such as fonts, texts,
graphic designs and color into assembling a cohesive presentation to viewers. (2005) James c. Faust
suggests using video content when words, sounds, or still, images fail to tell the story. He continued to
suggest that if a video were used merely as a decor, it shouldn’t be used. The video presentation works
to serve as an extension of presentation for the nonfiction online storyteller and therefore should be
attentively coordinated. Multimedia expression tools and platforms have presented outstanding features
for storytelling comprehensibility; however, one age-old expression of storytelling has seen bold
reentrance into the new media ecology especially via the podcast, in long formats, and in high appeal.
Next, we discuss the power of dialogue in today's new media ecology.

1.1 The Power of Dialogue

The podcast format of media has proved successful in its latest advocacies in the digital domain.
Podcasts and audio clips on the web are new storytelling techniques which add another dimension to
multimedia journalism. (Paul Bradshaw and Lisa Rohumaa 2011, p. 102) The notion of open dialogue
is at the core of what a growing number of people think about news, considered the key element in the
question of diversity and the pursuit of journalism in proportion. (Bill Kovach & Tom Rosenstiel 2007)
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The nature of podcasts today is that they are shaping a new culture of dialogue, emphasizing intricacies
of expression, powers of listening, and addressing innermost questions. Dialogue emphasizes emotions
as much as intellect and play. In the aesthetic feeling of euphoric belonging, play can take place in
dialogue according to Gadamer. (1960) It would seem that the idea of play helps to reframe the dialogic
process as an event. Gadamer views understanding as an event and play as a phenomenon universal in
the sphere of the aesthetic. He views dialogue methodologically and critically via the 'event of play'.
Words are more ambiguous than one might presume (Jaron Lanier, 2023). One of the biggest
revelations of this study is the power of dialogue. Dialogue presents an inherent quality of life. In this
section, ideas from Hans Herbert are presented to elicit the surreal nature that links subjective
experience of event and ephemeral linguistic expression to object. According to Hans Herbert (1960),
every age had to comprehend a transmitted text in its own way, because the text belongs to the entire
tradition, and the substance of a text, as it speaks to the interpretation, does not depend on the author's
and his original audience's conditions. It is not identical to them, because it is constantly co-determined
by the interpreter's historical circumstance, and therefore by the entirety of the objective course of
history. The idea of a backdrop in society from ancestral preunderstandings and orpiment themes in
media, such as ideas that are seeded by the mainstream stream trends may therefore alter the public
opinion in such ways, in an ornament of multi-sensory impressionism that may create cultural
stereotypes, or animate people’s perception. Hans Herbert argued that the meaning of a text will always
already be preconceptual determined and projected by the contents of our preunderstanding, in which
previous history and experience are embedded. According to him, tradition stages interpretive
understanding. Interpretive understanding occurs between the interpreter and tradition whereby
tradition is present in the interpreter as well as in the text, and at the same time determines the
background of the interpreter's holistic preunderstanding. (Hans Herbert 1960) Thus, the function of
language itself may supersede it, in sense that its presupposed impressions may surpass its linguistic
value in a paceful physiological impact.

An essential aspect of a speaker's linguistic competence, according to Searle, is the ability to use the
literal meaning of a statement in context. The idea that there is no clear difference between a speaker's
linguistic ability and his understanding of the world is the upshot of his argument. ‘’In fact, history
does not belong to us; we belong to it. Long before we understand ourselves through the process of
self-examination, we understand ourselves in a self-evident way in the family, society, and state in
which we live. The focus of subjectivity is a distorting mirror. The self-awareness of the individual is
only a flickering in the closed circuits of historical life. That is why the prejudices of the individual, far
more than his judgements, constitute the historical reality of his being.’’ (Hans-Georg Gadamer 1960,
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P.289) The idea of the backdrop is presented here, where culture and tradition leave marks more
prominent than the language itself. One where worldview is animated by prehistoric procedures.
Tradition, in order to endure, must pass via the interpretative acts of individuals; the two are
interdependent. Using his linguistic ontology to support his view of understanding as an event,
Gadamer aims to address the issue of whether aspect of this process is more important: the authority of
tradition or the strength of reflexivity. Dialogue in the new media ecology may therefore be an
outstanding element for both culture production and storytelling, having the capability to bringing forth
new perceptive realities or shedding new perspectives, among the many other capacities it may perform
in the new digital space.

In dialogue, the linguistically bound finitude of human existence is fused with the likewise
linguistically unfolded feature of universality and context transcendence. (Hans Hebert 1960, p.43) A
conversation might not succeed in uniting the individual perspectives into a particular universality but
could still open up for each interlocutor new insights and new aspects of the subject matter, thus
altering their existing world views radically.(Hans Herbert 1960, p.44) Participation is an integral
feature of play, which corresponds with power of the dialogue, according to Hans Herbert. The first
structural feature of play makes clear that play is a trans subjective experience, one that is involved
with dialogue and has the potential to overcome historic preunderstandings.

Before the advent of the new media ecology, one literary movement brought the power of dialogue as
its center piece. This new nonfiction movement proved enduring in its powers of nonfiction storytelling
and was dubbed new journalism.

1.3 Concepts of Literary Realism and New Journalism

In 1870, the book reintroduced the power of conversation in its most sophisticated form, the novel,
resulting in a new and impactful degree of involvement and revelation in character and setting, prior to
the emergence of new journalism, which advanced the novel by incorporating realism. The emergence
of new journalism facilitated the integration of realism into the novel, and conversely, the novel
influenced the incorporation of social realism into new journalism. The reader is solely responsible for
interpreting and understanding the message, as long as it is not altered, and the creative methods of
expression are used with accuracy and supported by information. The contradiction of Tom Wolfe's

16
literary tactics is evident in his approach to modern journalistic attitudes. Literary journalism,
specifically new journalism and gonzo writing may be described as a dynamic experience, a structured
composition, or a meticulously crafted piece, as well as a deliberate arrangement or a compelling
storytelling.

One attribute of realism, according to Pam Morris (1940), that sticks out is its function to raise
questions on situations and characters in a promise which will be resolved by fuller knowledge gained
during the narrative. Realism power is in conveying immediacy, concrete reality and emotional
involvement. The elements of realism gave nonfiction writing a new stature as an enduring device in
storytelling.

The four devices of literary realism as dubbed by Tom Wolfe (1975) are:

1) Scene by scene construction, evoking the senses and emotions of the reader, using historical
narrative as little as possible
2) Realistic / Sustained Dialogue, Involves the reader more completely more than anything
3) Third person point of view, which presents each scene via the eyes of a particular character,
creating a feeling of being inside a character’s emotional reality.
4) Detailing of status of life, symbolic details of a person’s position in the world via recording
everyday gestures, habits, furniture, details of environment, walking manner, eating habits, etc.

For Tom Wolfe, it is style that matters, not politics, pleasure not pain, status not class, The details take
on theological significance, such as what one dresses or where and how one lives. Status and states
were cast in the spotlight of Wolfe’s works. Ultimately new journalism holds a sort of fascination with
the new. One interviewing technique by new journalists put in practice by Gay Talese and Tom Wolfe
was asking their subjects about their thoughts and emotions. Chris Anderson in Literary Nonfiction
said literary essays and journalism could be informative, reflective, and personal. Jim Boylan said on
the matter '' it is writing that aims at substantial literary quality and fidelity to the truth as a writer sees
it; it is writing that seems to encompass aspects of life and culture that may lie beyond the grasp of
other forms of journalism.''

In his book ‘’New Journalism’’, Tom Wolfe presented extended experts from two works by Hunter S
Thompson, the pioneer of Gonzo. Gonzo journalism, the cousin of new journalism, termed and coined
by Hunter S. Thompson, has more emphasis on subjective immersion, making the first person the
central figure, allowing personal experiences and perspectives to shape the narratives. This
methodology of storytelling has a different response to the reader and an interesting effect when

17
adapted in cinema or narrative structured films. While New Journalism and Gonzo Journalism share a
common rejection of traditional objectivity, they dance to different beats. New Journalism seeks a
balance between literary flair and journalistic rigor, creating a narrative that is both informative and
engaging. Gonzo Journalism, on the other hand, revels in chaos, embracing subjectivity to the point of
becoming an active participant in the story. Both storytelling techniques are subject to pertain to
enduring qualities and are therefore worth exploring and extending in other forms of multimedia.

Narrative nonfiction can fundamentally be polyfunctional in terms of direction. Narrative force is seen
in the fact that the pieces are intended to simultaneously enlighten, educate, and amuse readers. A
mixture of narrative codes may fit with the storyteller’s goal of fully involving the reader.

Another big contribution by the convergence practice of reportage when it reached its pinnacle in its
nonfiction written form, it facilitated the reporter's active participation in events, meticulous
documentation, imaginative portrayal of the surroundings, utilization of both internal and external
recording devices, and unwavering commitment. It can be argued that these procedures intrigue
viewers who will eventually be affected by this involvement, and if the content producer has sufficient
style in the art of reportage, she may open new perspectives and realities of perception, via immersive
online storytelling. We will discuss in the subsequent chapter how VICE drove with the art of reportage
by incorporating it in the new age of video realism to establish themselves as one of the most
innovative media companies in nonfiction online storytelling in the past two decades.

1.4 Concepts of Video Realism

The current state of video realism in digital storytelling is primarily characterized by a strong emphasis
on authenticity, ethical portrayal, mastery of technique, and the capacity to adapt to the technological
requirements of different digital platforms. The use of these elements enables individuals to create
impactful, persuasive, and robust initiatives as a result of current advancements in communication and
online media technologies. The unfiltered approach of video reality has many advantages, but it may
lack emotional intensity and a solid structure in some cases. Therefore, its integration with the
instruments of new journalism may be the most influential factor in its progress and lasting influence.

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Authenticity prevails easily with video realism, as it follows a more observatory lens. Bernard provides
a comprehensive overview of documentary filmmaking, a cornerstone of video realism. She
emphasizes the importance of authenticity in narrative construction (p. 45) and discusses the evolution
of documentary styles, including the impact of digital technologies on storytelling techniques (p. 90-
92). Digital technologies today provide comprehensive means for video realism execution. With the
integration of new journalism devices, successful procedures may be granted. Paul Bradshaw and Liisa
Rahumaa (2011) argue that multimedia work should be meticulously tailored to align with the topic
and atmosphere of the message or narrative. The exciting thing about the unfoldment of online identity
in its process is to find ever more coherence in roles of presentation and cognition as expressed by
Judith Butler (1990) and Rob Cover (2023). It is a process that takes play via interactivity and
performance. As Helen Kennedy (2006) has pointed out about online settings generally, they are a
media form which is never finished, just as identity performance is a continuous process; both are
constantly ‘’under construction’. (P.869) Therefore great potential exists for stylistic development and
coherence via virtual work, preparation, and role filling performative value in video realism.

The availability of a range of platforms for engagement today gives a strong advent to curation and
reflection on video realism processes. Platforms, Lambert discusses the democratization of storytelling
through digital platforms. He underscores the role of realism in personal storytelling and community
engagement (p. 75-78), highlighting how digital tools have enabled more authentic and grassroots
narratives to emerge. Giovagnoli examines the role of realism in transmedia storytelling, where
narratives unfold across multiple digital platforms. He argues that realism is a key factor in maintaining
narrative coherence and audience engagement across different media (p. 60-63). Gane and Beer
provide a critical analysis of how new media has transformed storytelling. They discuss realism in the
context of digital culture (p. 89-91), emphasizing its role in shaping audience perceptions and
experiences.

"Visual Storytelling: Videography and Postproduction in the Digital Age" by Ronald J. Osgood and M.
Joseph Hinshaw (2019) delves into how videography and editing techniques contribute to realism in
digital stories. They discuss the importance of natural lighting, candid shots, and minimalistic editing to
maintain the realistic quality of the narrative (p. 132-135, 200-202). Handler Miller's "Digital
Storytelling" (2014, p. 210-213) touches on how technological advancements, such as high-definition
cameras and advanced editing software, have enhanced the ability of video realism to tell more
compelling and visually stunning stories. It is realistic therefore, at this point of time, to use the
medium of video to depict reality and convey universal messages. The power of video realism lies in its

19
ability to evoke emotion without manipulating the outcome. To present face value. Aufderheide, in
"Documentary Film: A Very Short Introduction" (2007, p. 28-30), explores how emotional connections
are fostered in video realism through the use of personal stories and relatable experiences. This
technique helps to create a bond between the viewer and the subject matter.

In "The Filmmaker’s Handbook: A Comprehensive Guide for the Digital Age" (Ascher & Pincus,
2019, p. 114-117), the authors discuss how narrative structures in video realism often avoid traditional,
scripted storytelling in favor of a more organic and fluid approach that reflects the unpredictability of
real life. Janet Jones and Lee Salter (2011) indicated that digital technologies would enable video
journalists to afford themselves and their viewers that more profound sense of involvement in stories
advocated for by new journalism. Lancaster defines the power stored in character driven narratives
within video journalism. He draws a comparison with the interest that had developed in basic character
depth like new journalism and presents how a video journalist could use visual as well as audio to make
characters enigmatic.

"Documentary Storytelling" by Sheila Curran Bernard Here, Bernard's study of documentary

filmmaking techniques underlines a core new journalism principle: that of character development.
According to Tom Wolfe, being outside of events is a benefit. It allows one to see and understand with
a new perspective, free from preconceived notions. This enables the audience to engage with events in
a more sensory and imaginative way, unencumbered by assumptions. This may include the realm of
literary composition or the creation of visually pleasing audiovisual displays. Renov (2004) is known
for identifying four fundamental tendencies or functions of documentary: to record, reveal, or preserve;
to persuade or promote; to analyze or interrogate; and to express. These principles align with the
notions of new journalism.

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2. Creative Project Design

As part of my research, I aimed to analyze VICE & Dogwoof, to establish compelling grounds for
Turtle Vision Studio (creative project). The idea was to see why they are successful and borrow some
techniques within my vicinity. As this case study progressed through assessing and analyzing various
works and documentaries by VICE and Dogwoof, it became more apparent that both successful media
companies utilize meticulous stylistic variables from the four devices of new journalism to be
integrated with video realism. This will be discussed further in the concluding parts of this chapter.

Furthermore, revisiting the histories, backgrounds, and niches of both companies, it becomes apparent
that they had novel innovative approaches that contributed to the production of a specialization. The
niche that was crafted for VICE was their art of video reporting and involving crew members in full
spectacle and in interaction with their surroundings. On the other hand, the niche that was crafted by
Dogwoof is in finding pervasively unique characters or communities to represent and film

After in depth initial studies, the question: Can video realism coupled with four literary devices of New
Journalism: scene–by-scene construction, realistic dialogue, third-person point of view, and recording
of everyday details give more endurance to online content? Was proposed and followed through with to
find out that the answer is indeed yes.

The objective then furthermore became to study the characteristics of video realism and New
Journalism, review techniques and build a co-relation between these techniques and content endurance.

Through these case studies, a deeper understanding of how video realism and New Journalism
techniques can be blended has been effectively presented and put into conjunction with both media
companies' endurance. As well as it became apparent that both companies adapted quickly to the new
technologies and applied interactive efforts in the digital space, escalating their success and marking an
impactful stamp on cultural production attitudes for documentary film making.

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2.1 VICE: Mastering the Art of Video Reportage

The art of storytelling, where there is a plethora of information sources, and where the newspaper
industry is threatened by economic down spiral, narrative reportages fulfill an important role -
especially if one departs from the assumption that narrative reportages, as opposed to non-narrative
reportages forms of journalism, trigger significantly greater arousal and mood changes responses in the
reader. (Donohew 1982) When news is converted into a tale, it is most thoroughly and easily
understood. The reportage's great narrative potential may function as a barrier against reader loss. As a
result, one of the key objectives of journalists is to generate high-quality reports. VICE’s astounding
contribution to the art of video journalistic reportage may go in history. But first we briefly implore
their own history.

In 1994 VICE was established originally as a print medium and later established as a video production
medium. Since their commencement, they defied all conventions and regulations of traditional
storytelling in print and video journalism, thereby presenting a fresh and distinct voice that did not fail
in attracting wide audiences and standing out. Through intense, immersive storytelling and acute
attention to youth culture, the company was able to carve out a successful niche for itself in the
cutthroat media industry. The Montreal based media company was originally founded as a punk
publication and was set with the goal of giving a new voice in the world of journalism. Their target
audience was youth. As they increased in popularity, they ventured fully into digital storytelling and
video journalism. After their web page was launched in 2007, they were able to quickly establish their
brand’s dominance in the digital space with consistent groundbreaking video journalism. Eventually,
they were able to establish Viceland, which set foot in television broadcasting, thus acquiring an even
more audience. Despite the success, the company has faced criticism for its approach to journalism;
some have accused it of sensationalizing stories and fusing together news and commentary. As their
voice was unorthodox and gaining fast popularity, it became subject to attacks from the old defenders
of convention.

In sequential, they grew to take over social platforms. Younger viewers who were just starting out on
YouTube helped them amass a sizable following. They were especially captivated by its investigative

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reporting, immersive films, and unique narrative style, which often tackled cultural abnormalities and
marginalized groups who are overlooked by mainstream media. A number of other media networks and
well-known personalities in the entertainment and journalism industries began collaborating with them
more often after that.

Analysis of VICE’s story telling techniques

Upon further analysis of the companies adapted methodologies that yielded most prominent in their
innovative success in online storytelling, a pattern of utilization of the devices from new journalism
integrated with video realism became more evident.

They often give stories in a successive, scene-to-scene order much like those storybooks and films.
This manner makes one entangled in the story, taking them into the setting and circumstance of the
tale. It is in this effective incorporation of the viewer into the experience that VICE journalists
accomplish through movement through spaces, interaction with locals, real and partial events
unfolding. VICE uses raw and unedited conversations. Interviews and conversations are natural,
unpolished by the usual veneer found in news interviews thus resonating to viewers much genuinely to
whatever they are watching. In documentary segments featuring controversial topics such as drug usage
or political turmoil, VICE reporters went on a no-holds-barred, candid conversation with sources and
getting their thoughts hence seizing the moment to get the raw emotion and words of the native
speakers as part of storytelling.

VICE adapts a third-person view that keeps close proximity to the subject while providing an intimate
look into what happened with events and people. Their reporters often narrate the story, giving it
context and background, but always the focus remains on the subjects and their experiences, as seen in
many of the international reporting pieces. The documentaries focus with great care for details,
capturing the nuances of everyday life and environments. There is detail that puts stories more into
reality. Among elements contributing to the reality involved in narrating the documentaries are
handheld camera, use of natural lighting, and on-location shooting. The unvarnished, sometimes raw
footage leaves viewers with an idea of having witnessed events themselves. In conflict zone reporting,
VICE’s use of video realism places the viewers at the heart of the action providing them an unfiltered
view of ground realities. VICE's approach of blending the narrative techniques of New Journalism, and

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also of telling the truth in Video Realism forms compelling, deeply engaging content. This unique style
educates, at a-depth, while it engages audiences.

Analysis of Vice Guide to Congo (2012)

Guide To Congo (2012) is a VICE documentary where the cameras for once can penetrate inside the
enigmatic world of Democratic Republic of Congo. The aesthetic of the visual narrative of the
documentary is gritty and unpolished, common with grittier forms of immersive reporting. People in
close-up shots with their environment give a great sense of space and presence which come out as New
Journalism style that describes place in detail. The documentary adeptly uses principles that are
espoused within new journalism. Immersive reporting, narrative storytelling, subjective voice, and
detailed scene setting are synonymous with an engaging, intimate, emotionally resplendent experience
offered throughout this documentary. This analysis highlights how "The Vice Guide to Congo" is not
just an informative but a connecting piece of film that really demonstrates what new journalism did and
is doing in documentary style today. The documentary integrates subjective views and analysis of the
political landscape in Congo that drift away from traditional objective reportage to embrace new
journalism's philosophy of allowing the reporter's view to somehow be part of the story. The
documentary’s interviews are less objective than in the conventional reportage while maintaining
information flow through conversations hence, remaining informal and conversational in both tone and
style to push the viewer towards an emotional connection as well but on the level of the story.

Conclusion

The VICE brand established a powerhouse of an establishment with their global network expansion,
opening offices for correspondents in a few continents especially North America and Asia. They have
an immense reach for teenage and young audiences overall, and undoubtedly became a cultural icon.
They cover everything and they honed the craft of digital storytelling that deserves its dues in
recognition. They appropriated a new level of cultural dialogue unforeseen before and they did it
naturally without any delegated force or commercial endeavor, which is proof of resilience. VICE to
this day is redefining journalism by emphasizing authenticity, engaging storytelling, finding cultural
niches, along with the company’s dedication to covering subjects that are important to young people
despite fathoms of controversy. VICE is a daring and powerful force in the media landscape, that has
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crafted inventive digital storytelling and mastered the art of reportage, making a lasting impression on
the nexus of media, culture, and young involvement, ultimately creating enduring content.

2.2 Dogwoof : Realism Documentary Film Production Pioneers

This section will implore Dogwoof’s success story in improving the aesthetics of documentary film
making exponentially. Since their launch in 2004, they have released 28 Oscar nominated
documentaries establishing a strong footing in the world of online storytelling. The media company has
been hailed as a front forerunner in collaboration that shapes present-day documentary film making.
Dogwoof specializes in documentary distribution and production aimed at raising social awareness
with the intent to influence culture production. The case study looks back at the documentary films that
Dogwoof produced over all those years of its existence and critically assesses the methodology of the
company's filmmaking. Its extraordinary focus has been on films that engage current issues, from
concerns over the environment to social justice, politics, and culture. The company produces films
whose significance is novel in their dynamism. The focusing on realism as well as incorporation of
narrative storytelling is witnessed to play a major role towards raising the recognition level of
documentary features to their status as active and powerful vehicles that further the art of storytelling.

Assesment of Dogwoof’s techniques that intersect between new journalism’s devices and video
realism

1) Narrative Depth: Dogwoof Films explore their subjects to the fullest depth through character-driven
stories.

2) Innovative Storytelling: Integrated New Journalism with all its major techniques like reporting
closely and narrating in the voices of the reporter to make the films unique from all other production
companies.

3) Global Awareness: The different critical global issues are addressed and raised at different levels

25
through impactful storytelling.

Dogwoof’s trajectory in the documentary film industry underscores how realism and innovative
narrative techniques can go a long way in producing hard -hitting and lasting content. As a production
and distribution company, Dogwoof has not just succeeded in bringing critical issues towards the
leading edge of public consciousness but rather in some way re-written what audiences seek out of
documentaries.

Analysis of the film "The Territory" produced by Dogwoof

The Territory is a documentary that concludes on an immersive entrance into the environmental and
culture wars. The spectacle is viewed through the Indigenous Uru-eu-wau-wau people of the Brazilian
Amazon and their adversaries, providing third person view for both sides. Visual, auditory or textual
elements that are in unity to express views pertaining to environmental activism, indigenous rights and
deforestation.

The novelty of this documentary is that it was coproduced with the indigenous Uru-eu-wau-wau
people. COVID pandemic raged the world as this documentary was being filmed. The producer and
director Alex Pritz had to depart the scene; nonetheless, he left camera equipment for the a few
indigenous late teenagers who were well acquainted with the digital camera. The members of the of the
of the Uru-eu-wau-wau people who used the cameras were successfully able to depict in depth
moments and scenes of their turmoil with the deforesting troops, as well as strikingly emotional
dialogues between members of the community. The documentary uses closeup shots of the Amazonian
indigenous people and everything around to create a very tight relationship with the viewers. For wide
shots, on the other hand, a picture of the Amazon River as a whole natural component and showing the
extent of destruction that deforestation is capable of causing. Scene by Scene construction allowed
Indepth relatability and emotional resonance with the astounding environment the Uru-eu-wau-wau
people occupy. The universal theme of battling corporate interests that interferes with nature’s
integrity. The color scheme employs earthly natural colors, endorsing the concept of being rooted in
naturalness. Contrast has been created by contrasting the stark image of deforested areas rendered
either in muted or harsh tones which strike emotional volatility inevitably evoking an instinct that is
proclivity to protect beauty. The contrast in visuals of prolific jungles against lands that have been
destroyed makes one graphically imagine how the lasting war between conservation and exploitation is.

26
Uru-eu-wau-wau display indigenous artifacts, clothes, and carry out of rituals in their land by the film's
directors to visually anchor this unique narrative within this cultural setting. Placing emphasis on
indigenous languages during input ensures that the matter is represented, thereby acknowledging its
authenticity and placing the recipient in the scenario. The documentary supported its emphasis on the
environment with natural sounds, bird chirping and leaves rustling, and rain, while constructive
manmade noisy machinery and the destructive manmade noise disturbed a peaceful harmony and
stillness in nature. Information and context are mediated in the documentary through voiceover
narration and subtitles, which enables it to gain a wider audience appeal. The documentary is center
focused on the universal theme of nature destruction, in this case especially via man himself and his
selfish intents, provoking relatability. The movie honors the Uru-eu-wau-wau people and their culture.

"The Territory" provides a prime example of Through careful integration of visual, auditory and textual
aspects, this undoubtedly paints a compelling channel for better identification with the struggles
experienced by the Uru-eu-wau-wau people. Such multimedia approach informs, educates and moves
one's audience deeply underscoring the documentary cinema to be utilized for the mission of impact of
public awareness as well potential tool for affectation of action on critical environmental and
indigenous rights issues confronting the globe.

Dogwoof has covered a wide range of subjects who are intriguing and never fails to present the niche
of the other. In an overview, this became their niche: covering the niche of subjects who are pervasive
in character.

Upon the conclusion of the analysis, the following assessments were made:

1. VICE and Dogwoof Engage video realism in capturing life as it happens, often engaging unscripted
dialogues with real-time events that could make material both sporadic as well as inconsistent.

2. VICE and Dogwoof, far too often, immersive and genuine method of storytelling has a much greater
impact on audiences. The viewer may feel that he or she is far more directly in the middle of this story.

3. VICE and Dogwoof often employ handheld cameras, natural light, and on-location shooting that
give their content a grittier, more immediate feel.

4. VICE’s and Dogwoof’s approach might lead to the interpretation to be more genuine, grassroots,
attached with the real issues in the world.

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3.3 Intersection of Video Realism and New Journalism

The implication of the case studies and their analysis is that VICE and Dogwoof, in their representation
of video realism and new journalism techniques, post some antithetical approach to traditional media
houses. Their approach makes the content more narrative driven, emotionally connecting and authentic,
that strikes a deep chord with the audiences who want to see something more immersive and relatable.
VICE underscore stories with powerful reportage and immersion techniques via the crew team
involved in the filming; this is their novelty approach. On the other hand, Dogwoof present from the
observatory role akin to direct cinema, volatile in capturing the most engaging scene.

While video realism is mostly concerned about realistic representation of events, authenticity, and
honest depiction of true situation, new Journalism Incorporates the detailed mirroring of scenes, daily
procedures, comprehensive dialogues, and third person perspective. Video realism captures life as it
happens, scene after scene in an unscripted and real flow of narrative. The focus on detailed scenes that
new journalism emphasizes can guide editing so that each part of the scenes adds to the total narrative.
In new journalism, scene setting involves having endless descriptions of places, atmosphere, and
environment. In the case of video realism, the same ascribe to unwavering attention in the visual form.
Film makers may use the longer, uninterrupted shots to establish a sense of place or they may zoom in
on small details in the environment that help deepen and make an established reality pop. Most setting
of the realistic scene is centered on use of natural light, real locations (as opposed to sets), as well as
the use of ambient sounds. Real conversation and dialogue, capturing is already inherent in video
realism. The focus on dialogue of new journalism can contribute to the aspect of storytelling, choosing
best clips that define the thoughts and personalities of the characters. The new journalism flare was
authentic and natural dialogue. Applied to realism for video, this is capturing conversation as it is
frequently through live recordings and minimal scripting. Where video realism largely draws in the
first-person perspective, introducing third person would be able to give greater contextualization. New
journalism techniques might encompass narrative voice-overs or interviews that provide an extra point
of view, as one finds in literature a third-person narrator. Video realism does extremely well to capture
the aspects of everyday life. Such details in new journalism add to character and setting. Editors can
use it as a tool in post, adding such subtleties to create depth in the narrative. The aim for preservation
of the natural rhythms and idiosyncrasies of real speech. new journalism mostly strives to explore

28
deeply into the tapestry of the lives and psyche of its subjects. In video realism, this goes below the
surface level of depictions and looks at the complexities of the characters. The combination of both
techniques would result in documentaries or feature stories that are highly stimulating, very informative
and on another level insightful content. News stories can utilize this approach, enabling a better
immersive view of events at hand.

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3. Creative Project ‘’Turtle Vision Studio’’

Turtle Vision Studio was a concept for a brand engaging online nonfiction storytelling via a web blog
and YouTube, utilizing both nonfiction immersive writing techniques of new journalism in
combination with video realism to produce novel methods of online story telling. Turtle Vision Studio
is a ground for sharing innovative, educative, and entertaining storytelling using the methods outlined
in this work, to push forth and add commotion to a most positive future of online storytelling via means
prescribed by masterful storyteller of all multimedia formats.

My goal is that via the channel of Turtle Vision Studio, I would be able to present novel concepts and
establish authentic grounds for engaging online storytelling focusing on cultural niches that captivate
me while seeking provisioned collaborations with other content creators.

In this section, I present an article and two video journalistic works I have created following the
attributes of this paper. In the first article I use my descriptive impressions of a solarpunk community in
Kaunas located within its established space, Garage27, written in style of gonzo and descriptive
nonfiction. Then I present two video journalistic works I have created this season, one in the style of
citizen journalism. The other in the style of a short documentary. The works presented here are mere
early practices for the purpose of stylizing and experimenting with formats nonfiction storytelling that
may be presented on digital platforms, and by no means are supreme in their current form. Yet they
may serve as an example of exploiting some of the techniques mentioned in this paper so far.

30
The challenges that were reserved for ‘’Turtle Vision Studio’’ so far are:

a) Financial challenges: to produce full feature content and accommodate more executive ideas.
b) Time challenges: deeper engagement and involvement with subjects for consistent periods one
hand for nonfiction stories. On the other hand, with following through on editing procedures.
c) Building an audience: identifying the niche has been a process, as well as the qualities of
production that align more appropriately with the message delivered. Identifying the audience,
one wants to present for, especially on the grounds that it might be multimodal requires
experimentation and assessment. The bigger the target audience, the bigger the challenges.

https://www.youtube.com/watch?v=ablGzhmNdgs

https://www.youtube.com/watch?v=0sntAKwWi2M

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 3.1

Nonfiction writing

One of the main substances of my creative outlet, Turtle Vision Studio, is nonfiction writing and
depiction of events and subjects that may provide value in entertainment or evoking emotional
volatility. I have come to realize that like the methodologies attributed by the new journalists, the more
I spend time with the subjects at hand and give sincere attention and fresh perspective, the easier the
pervasive writing possesses the scene. Carrying devices such as audio recorders and various sized
notebooks has been essential for this process, readiness to concede with recordings upon arrival at a
dramatic ground, or with engaging subject, or other possible life given instance that inspires
documenting. The attitude of being outgoing has been essential for this process, inevitably turning my
work into community driven work, which is an aspect that should not be underestimated.

3.1.1 Descriptive/Gonzo nonfiction Writing: Solarpunk

Article

What is this gowning folk. Which class of homos do they belong. Which race of imbues. In Blues
maniacs - someone with half-witted brain 30% or less operating might think of this place in space.
32
One can't take away the culture apart from the science apart from the fact that 70s disco bared
foreground to a background that revolute in major advancements in technology: the digital camera, the
cell phone, email, Vcr, GPS, the apple computer, the microcomputer, the first portable music player,
and floppy discs. The most prominent music globally at the time was disco, funk, and soul according to
charts. What is the music now? What are our latest cultural advancements?

It is November 2022, and I am invited for the first time to the space known at the time as Garage27, a
semi warehouse in the yard of a newly relocated bar called O Kodel Ne which translates to Why
Not???? It is the first draft of the cold season making its way through walls and barriers in a form that
penetrates all solid things. A punch in the bone. A poncho hanging down to my thigh to keep my waist
warm as I pass to this vibe shaking premise.

54 yards from the premises of O Kodel Ne, stands this Graffiti imbued infrastructure 15 meters by 6
from the outside with a 3-meter height, misted in the gray atmosphere befalling this twilight house. An
event is being held at this moment. A party by a crew called off-grid who invited an unpopular
underground breakbeat Dj to perform. They flew with him from the UK. At least one person should be
having a good time here I thought. I can't seem to notice some irony there. In any case, the event is a
spectacle to any retina, rotating effervescent colors as I enter... dancing figures, unrecognizable from
the light saturated surroundings and smoke machines. This event seems fit, I think. Fit in count of
people to space ratio adjustment. The bar is bashed with all types of electronics. Robots serve drinks,
make sandwiches. Crypto currency payments. Fireplace with a dozen piled woods. I soon enough get
washed in overwhelming sensual neuroticism, that leaves me sensationally drunk.

Over the next few months, I was swayed to make reentrances in this space, get an introspective sniff of
its subcultural aroma. As I've interacted with the Garage27 community, I've conceived of a lot of
plausible future scenarios that weave together the human capacity to pool resources and work together
creatively. The ability to share one's creative work with others from all walks of life is a virtue, I've
realized, since everyone has their own unique perspective and can appreciate and benefit from it in
their own manner.

In a united state of activity, the community offers ideals for cohabitation made possible by forthcoming
technologies that harness community, social reforms, altruism, vision, and ecological restoration. As a
whole, space acts in a social, imaginative, and pragmatic way. Partially, as some sort of time travel
space station on some occasion! Participating individuals flaunt a wide variety of toys, ideas, and
means of expression in the area, which I have seen on each of my visits.

33
The primary actors in Garage27 are in a passionate condition because they are always preoccupied with
the space and the idea of creativity and output without conviction.

If solarpunk aesthetics address broad themes of integrating technology with nature to nourish nature
without harming it and adapting it to human social reform in the most positive, creative, and supportive
ways possible, then they are open to interpretation. According to what I've seen and seen, Garage27
adheres to these aesthetic standards, as far as I learned about Solarpunk.

Three distinct regions make up Garage27's space. This first area is the warehouse's main hall, which
has a high ceiling, a fireplace, a music stage, tables for previewing electrical items including functional
and programmed robotics, furniture (two sofas and a few chairs), paintings on display, homemade led
lights, and more hi and low-tech equipment. Around sixty to seventy individuals may fit in this area
simultaneously. In the second room, you'll find the refreshment area, which is furnished with a juice
bar, four couches and a few chairs, two heaters, and a plethora of musical instruments and equipment.
Feel free to play the drums, guitars, bass, and various percussions here. There are also a few board
games, a blockchain bar system, robots, and robot dispenser. You can also find some paintings and art
displays on a couple of tables. Up to 25 people might be seated in the second area simultaneously. The
third section is the outdoor area, which is huge and shared with the yard that is half of O Kodel Ne (the
bar by the rails). In this section, you'll find a variety of couches, antique and exotic pieces of furniture,
a large table for displaying electronics, a fireplace, handmade LEDs, and a booth for cooking pancakes
and breakfast. More than a hundred people might be comfortably seated in the outside space. During
the summer, the outside area is transformed into a more captivating space, while the two adjacent
sections are opened to allow for circular access between them. Immediately, it may seem like a
futuristic squat, but by no means is it so.

In Garage27 workshops are more of a free-form, participatory affair. Whatever kind of workshop I've
planned—art, music, ChatGPT, or artificial intelligence—has a circular character, meaning that
questions, play, and contributions all swirl together in a harmonious bowl.

During a few numerous visits, I have seen people of all ages and from all walks of life participate in
Garage27’s events, which are both consistent and welcoming. From weekly art and tech configurations
to screenings and support groups, there's always something going on. One thing that all of them agree
on is that they experience a feeling of belonging and freedom in space. An inherent feeling of
playfulness also envelops them.

34
Artists and techies are invited to use the space for anything they like: collaboration, contributing, skill
teaching, or even just renting it out for a good cause. The space exudes an authentic and unique energy
that adds value to Kaunas town as a whole. Its eccentric tools, such as robots that serve drinks, a cheap
juice bar, robots that clean the space, robots that hold incense sticks, robots that serve sandwiches, and
other hand-crafted electronic devices, create an authentic atmosphere. The space also upholds the true
aesthetics of communal principles based on inclusivity, welcoming all international communities.

With all their updates posted in English, Garage27 on social media actively advocates for all Kaunas
foreign communities and strives to have more international individuals participate and share their own
perspectives. With a firm grasp on AI, Garage27 is always digging further into the topic, sharing
findings with the community via social media and online forums, and sparking debates about the
potential applications, risks, and benefits of these developing technologies.

In retrospect, the lack of clarity in the community's guiding system is mostly attributable to individuals'
restricted perspectives or random passers-by. To fully grasp the guide system and how they may get
involved, novices often need to have a chat with community leaders and get some fill-ins. During my
time there, I approached Povilas Brazys, one of the main space holders and robot geek numero uno,
with the idea that the absence of suitable multimedia reflections on social media could be a factor in
this problem. He agreed, and we worked together to create a creative proposal outlining the Garage27
philosophy for newcomers and interested individuals. It is important to note that this demand must be
consistent. To captivate and explain the events unfolding in Garage27 and their significance, content
has to be produced at least once a week, if not every day.

Be patient and let the natural ups and downs of the game teach you what works and what doesn't since
Garage27 is based on grand futuristic principles that aren't used anyplace else in Lithuania that I'm
aware of. Thus, with the passage of time and significant support from both internationals and locals,
Garage27 can overcome its primary problem—misrepresentation—and move forward into a promising
future of maximum growth and social contribution. If you want Garage27 to grow quickly, I can show
you the way.

Contributions from the international community are limited to the exchange of ideas and tech/art skills
at seminars and screening evenings for film projects. Everyone from the Netherlands and Estonia to
India, China, Japan, Korea, Egypt, Brazil, Dominica, Mexico, Canada, and Venezuela has been kind
enough to speak with me or interview me during my stay here. Even though contributions and
participation may fluctuate, grow or shrink unsteadily, the momentum has never stopped since I was

35
introduced to the community. Garage27 consistently creates new types of events and provides original,
authentic contexts for technology and the arts.

In summary

When people are healthy, they are able to interact with others, learn new things, and make a difference
in the world around them. Connected people have more purpose in life, are more driven to succeed,
and enjoy life to the fullest. Experimental evidence supports this data statistic. A person's feeling of
worth is anchored by the connections she has within her community. Happiness is driven by
connectivity. Having a strong sense of community is crucial for a person's future. All four forms of
capital—social, human, environmental, and economic—are nurtured in remarkable harmony in a green
economy. This is the kind of capitalism that should be practiced in the modern day. The assets of both
people and groups comprise human capital. Interactions and the social networks we create are the
foundation of social capital. Nature, its resources, and the ways in which it operates are all forms of
natural capital. Constructing several types of capital simultaneously is the essence of true capitalism. In
contrast to other possible futures, Garage 27 prioritizes the development of human, environmental, and
social capital before addressing economic capital. As a society, we need to do more to back models and
push ahead with evolutionary efforts that prioritize the well-being of people and groups.

End.

When I wrote this report investigating Garage27’s activities, I was not fully aware of the power of
dialogue and missed recording the stimulating aspect of the conversations held there, which is a pity. In
retrospect; nonetheless, I tried to capture its essence in a nonfiction written reportage. One could
imagine if dialogue was added to this piece, it would have added new dimension and color and elevated
the article to new heights of engagement. I used mixed methodology in this article between descriptive
and gonzo which offers a delicate contrast in expression and presentation. Luckily, I have also filmed a
short documentary on Garage27 linked below. This is helpful to have two different storytelling
accounts in two different formats, and in comparison, we may see that each format has its pros in terms
of induction and prescription of the reality the space may conceive. The short documentary can be
found in the link later in this section.

36
3.2.1 Video Journalism

In this section, I present two comprehensive journalistic concepts that may be expandable and further
accumulate into series, and hence accumulate enduring value as they evolve and accommodate more
innovative methods. The following excerpts presented are the first prototypes for each concept. The
first is Postcards to the Future, based on citizen journalism, constituting dialogue with citizens of a
given demography, with a friendly host Zan Hoffman to incite cultural and historical dialogue with
regards to the locality while sending a message, a postcard, to the future, from citizen to citizens of the
future. The script concept was drafted on a piece of paper to attenuate it as it goes. One of the concepts
is finding interesting figures, pervasive in their ideas or behaviors, to interview on topics of culture,
arts, economics, infrastructures or architectures, and overlay with animations of postcards and text to
convey, as me and Zan Hoffman the presenter, a funky attitude on scene to the viewer. The message
behind the concept is to provide value for citizens of the demography and incite curiosity for
prospective travelers into the presented demography. The second Video, journalistic work, is also part
of an expandable series aiming to follow personas or spaces that provide for solarpunk aesthetics, an
ideology that seems ever more relevant today with the enormous technological advancement and
ecological uncertainty.

4.3.1 Postcards to the Future

Postcards to the future is a concept created by me and Zan Hoffman for creating citizen video
journalism where we ask members of local community on the street questions, take walks, and
conserve on matters of culture, history, social life and more. In this project Zan Hoffman, affiliate, is
the presenter, while I take camera, recording, editing, and postproduction duties.

One episode can be found in Appendix F.

4.3.2 Solarpunk Series

37
Solarpunk series is a concept I developed for shooting short documentaries on solarpunk values via
spaces and subjects that represent the message of the ideology. The ideology of solarpunk is based on
the premise to use hi-tech to sustain nature and proliferate it, ultimately creating an ideal future based
on mutualism between technology and nature, with humans as the mediators. Garage 27 is a unique hub
in Kaunas that is developing Solarpunk aesthetics via its proactive community which includes
electronic engineers, artists, and ecologists who work together towards these values of sustenance and
future utopianism. Garage27 was the subject of the first episode of this series, while the next episode is
scheduled to be filmed in Latvia.

Short documentary on Garage27 is referred in Appendix G.

Overview

These creative initiatives were simply experiments undertaken in order to explore and uncover my own
beliefs in the realm of independent media and journalism. They included innovative approaches to
online storytelling, with the aim of developing my own unique voice in this field. The works in this
chapter borrow from methodologies of both new journalism and video realism in combination. In
general, I have acquired a strong understanding of community values and the ability to effectively
collaborate via these projects. I used the techniques of dialogue, scene by scene construction, and third
person point of view in the project "Postcards to the Future" and utilized the short documentary format
using scene by scene construction and status recording for "Garge27".

3.3 Identifying my niche

Niche (noun) - a job or position that is very suitable for someone, especially one that they like.
(Harvard Human Resources, 2020)

Niche (adjective) - Interesting to, aimed at, or affecting only a small number of people. (Harvard
Human Resources, 2020)

On the matter of identifying my niche with my independent media brand, I have come to realize that
multimedia skills can be focused on providing a precise range of content tailored for a target audience,
instead of a wide one, is a most efficient approach. The concepts may vary from season to season, but
38
taking time to acquiesce the offerings of the process is certainly worth a ride to bring long term
harmonic cohesion to modes of presentation and anchoring the niche.

I have observed examples of now turned successful models like Andrew Huberman and Russel Brand
craft their niche and presentation style on YouTube to become two cultural icons of the modern day.
While they now receive assistance from production stance points and visual organization, their
captivating energy in storytelling and passion for sharing educational and informative content with
sheer will to help others overlapped their channels with another prominent value that any independent
channel should seek to acquire, that is community value, via interactivity of audiences and cultivation
of sense of belonging towards an aim with others.

My niche is an attitude that I may present with my writing, video production, music making, or all
combined that expresses nonfiction proportions blended with subjective abstractions overlayed in
expression by prescription of camera movements and direction to merge both worlds into reality. It
may not be a popular method. This is why a niche that I will attend carefully with my independent
media channel for nonfiction blog posting, short documentary film making, and music recording
documentations.

3.4 Visual Identity

Visual communications via logos and graphic shapes and illustrations have entered the synopsis of the
digital age as a neural discovery for projecting character and simulating attraction. The expression of
colors, fonts, and shapes provide a guide to the abstract world of the niche, on incomprehensible in
words more usually. The visual communications of graphics and illustrations today provide an
extension for calibrating messages of authenticity and style, not far in similarity from the value of
symbolisms of the coat of arms in the Middle Ages. For the creation of a visual identity of my media
brand, I have consulted my niche and consulted a graphic designer to bring to life a feeling of
anchoring to my media brand. (Provided in Appendix C)

39
CONCLUSION

In a society overwhelmed with an abundance of information, authentic and relevant stories resonate
with the viewers or readers. Stories that really connect with individuals, eliciting authentic emotions
and intimate encounters, have a tendency to endure over a long period. Enduring stories are those that
maintain their relevance throughout changing circumstances. By integrating aesthetics of new
journalism into video realism, storytelling is enhanced and hence can prove endurance if presented with
authentic or innovative style. By addressing universal themes or engaging with current challenges,
stories and content online are able to retain their relevance and importance. Furthermore, the presenters
of the stories and their imprinting style or niche has a crucial influence in its longevity. The presence of
a well-crafted actor captivates the viewer, creating a feeling of emotional involvement and
understanding. In the age of digital storytelling, the inclusion of visual and multimedia components is
of utmost importance. The narrative experience is enhanced by the use of high-quality pictures,
immersive graphics, and engaging multimedia components. Visually pleasant and technologically
advanced presentations boost attractiveness of and add to their potential for endurance.

The literature presented in chapter 1 offered a clear trajectory to the incorporation of new journalism’s
four devices in video journalism. Video is intrinsically immersive, combined with digital platforms it
allows the development of character and narrative whereby an author can build up a distinctive voice.
This intersection doesn’t only enrich the field of video journalism but ensures the lasting relevance of
new journalism’s principles in the digital age. Therefore, future research can be directed towards
further exploring how they are being adapted and transformed in the fast-developing landscape of video
journalism. Another important insight forms this work is in its emphasis on the power of dialogue, one
of the new journalism essential devices. Dialogue can enhance immersivity and playfulness and may be
an element of upmost relevance for content endurance online. If ancestors mastered their
documentation of dialogue, perhaps the emotional content of their stories would be amplified, and a
degree of realism may have been added, as opposed to descriptive limitation. Dialogue involves the
40
ears and presents action. According to neurobiologists, the most used up of the human senses are the
ears and eyes, therefore perhaps naturally technologies were designed to impress more on the most
recalled human senses. According to Andrew Huberman (2023) words are directly linked with the
neurons in the brain. Plato and Socrates presented their arguments via dialogues, among other authors
from ancient Greece. According to Tom Wolfe, Dialogue is the most powerful device/tool in new
journalism and nonfiction writing that can produce enough imagination and engagement from the
reader on a more personal level. Dialogue has significant influence throughout several domains of
existence and contributes to the creation of long-lasting digital material, including podcasts, interviews,
and high-quality films. The strength of discourse allows for the creation of culture on both an
individual and social level via its lasting forms of communication. The online storyteller must consider
the significance of conversation and adapt it to create lasting online content. The power of the language
conveys and exposes. Language is annex to behavior. It shapes ideologies, propagates peace or war.
Competition or cooperation. Language dictates our nervous system. Information in many instances of
its retrieval and dissemination can be seen as subjective and emergent. Dialogue prevails as an activity
that most practice, all frequently, in having conversations, by which inner most thoughts and emotion,
emerge from subjective paradigms. Therefore, the power of dialogue which has been mustered and
mastered by many in their unique ways holds the potential of subjective realities, character reveals, and
factual display.

To answer the question of online content endurance, endurance in the realm of online storytelling
requires equilibrium between genuineness, originality, readiness, depth of message, and style. The
online stories that will endure are the ones that are able to consistently engage emotion, provide
knowledge and draw on universal truth of play and imagination, via means of the text or other
multimedia format. Channels that promote active engagement and foster the development of a sense of
community have a tendency to create a long-lasting impression; community value is an integral
particularly for bigger channels or networks. Content that evokes emotions, proposes innovative and
educative value has better chances at endurance. Element os surprise or shock that challenges
metanarratives or conventional understandings builds mystery and anticipation, qualities that leave
emotional resonance with audience. Emotional resonance evokes memory and inspires the audience to
review the content in the long term. Community building enhances relevance through word of mouth.
Volatility of emotion leaves enduring trades. Plot twists encourage anticipation and revisiting of
content. Emotional resonance has the capacity to transcend generational boundaries. Emotional
volatility, therefore, has been demonstrated as a contributor of enduring content.
41
To summarize, the enduring nature of online content is a complex interplay of storytelling elements,
audience engagement, quality production, and adaptability. Successful content creators and platforms
understand the importance of these factors and actively integrate them into their strategies to create
content with a lasting impact.

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Appendix A. Interview Transcript I

Interviewer: ‘’What type of content or story do you think is more enduring for audience and readers
today?’’

Laura Barzdaitiene: ‘’ Given the abundance of information, even the apparent excess, that today's
audience faces, the most relevant information today is what is very new, unexpected, sensational. And
not even the content of the information itself is important, but the way it is presented - it must be not
only concise, short, clear, but also humorous. I think that this kind of information is the most attractive
and attracts attention. And the content itself, of course, depends on each person's area of interest. For
some it will be a problem of saving whales, for others it will be a recipe for a fashionable cake.’’

Interviewer: ‘’ What do you think are the qualities that makes online journalism interesting and
attention grabbing?’’

Laura Barzdaitiene: ‘’ Humor, humor, and more humor!’’

Interviewer: ‘’ How does deadlines affect the quality of a story in your opinion?’’

Laura Barzdaitiene: ‘’ Of course, deadlines affect information negatively. Since I worked for an online
portal myself for a while, I remembered my director's explanation: our information is fast food, not a
luxury restaurant. The texts may contain errors, the information may be inaccurate (it can be denied
later - and this will be another additional message to interest the audience), the most important thing is
that it should be quick and easy to understand. therefore, in order to form a real opinion about a new
event, it is necessary to follow and analyze the information for a long time, it is practically impossible
to decide anything from one message.’’

Interviewer ‘’ Do pictures and multimedia compensate for bad writing?’’

45
Laura Barzdaitiene: ‘’ As for attracting attention - yes, it certainly compensates. In terms of lasting
value, of course not.’’

Appendix B. Interview Transcript II

Interviewer: Hey. Thank you for taking this interview.

Rugile Matuseviciute: Thank you for agreeing to reschedule it. Sorry for the last-minute changes now.

Interviewer: Absolutely cool. No worries.

Rugile Matuseviciute: I work at various media outlets now, so, like, I'm mainly freelance, but I work
with Delphi also. Uh, we have this radio station called News Radio, so I work with them as well. So
yeah, it depends. It varies. But I have been working with Delphi for most of the time since like for the
past two years or so.

Interviewer: As I understand. You do online storytelling.

Rugile Matuseviciute: Uh, I do, I do online and radio. So mainly audio-visual journalism. I don't write
a lot of articles. I used to, um, because I started like seven years ago, uh, we started doing our own
podcast, um, called translated as unpacked, something like that. So, I started then and then I would
write some articles for our own website and other media outlets. But, um, for the past few years, I've
been mainly doing audio visual stuff. So, radio, TV shows, yeah, uh, social media and stuff like that .

Interviewer: Super cool. And you're like, presenting, uh, content. You're presenting stories and idea or
you're curating, uh, like, uh, videography and, uh, like directing content in the sense.

46
Rugile Matuseviciute: I do all of it. I do. Wow, there is. But, uh, so a few months ago, we released a
documentary with Delphi. So, I was the one that, like, recorded everything. And then with the help of
my director, we, like, um, edited everything, created the script that all the publishing, marketing and
stuff. So, it really varies. So, I basically do whatever it comes like with sustainability communications,
climate journalism and stuff like that. I do whatever's possible to do. I love to do the content creating
part. So, um, I used to host a TV show. Now I host a radio show. As I said, I've done a podcast, but if
there's any other kind of project, um, I can help with so I can always help with it so it doesn't really
matter. I work with everything. If it's related, if it's related to sustainability communications in any
way, I work with it. Speaker1 Amazing. So that's sort of like your niche. That's like narrowed down
like specialization, like you do mostly, uh, um, like sustainability related topics or content in general.
Yeah, yeah.

Rugile Matuseviciute: Because my master's was, uh, I was studying journalism, and I wrote my
master's about environmental journalism. So even like in my educational field also focused on that.
And then in my career, yeah, I was always content creating media and journalism, but it was always on
the side of sustainability, ecology, environmental issues. Yeah. So, stuff like.

Interviewer: That. Super cool. And, and d d did you define any, identify any particular like
methodologies to, to like uh be able to like to reach out and ensure that, uh, your messages are enduring
in a way I don't like. Um, uh, like, is there a particular um, is there a particular like method that you
identified, like to, to compel like audiences in general with regards to sustainability? Um, uh,
information or um, just knowledge in general that you're trying to the messages that you're getting
through. Um, yeah. So like for example, a specific voice or a specific, uh, um, uh, particular type of
presentation that you would, uh, that you would use or, um.

Rugile Matuseviciute: Like. Do you mean like measuring the impact my work does or, like, I find it the
most difficult. I think the most difficult part in this job is to calculate in any way whether it's actually
doing something you can like. I've been working in this field for seven years so I can see the difference.
Um, and two main factors that I consider is always like environmental consciousness of the society, but
it's also very relevant. I just see that people are, uh, more focused and more interested in these topics.
And you can see, like in the media, even like businesses talking more about it, making it their like sort
of, uh, communication, like more businesses communicate about it and more customers want to buy

47
more eco friendly products. So environmental consciousness, if it's growing in the country, you can
consider it as part of, uh, like a result of your job. Not necessarily that I'm like responsible for all of it,
but you can like, think that, okay, maybe what I'm doing is helpful. So that's one of the ways that I sort
of like check if there's a change in the industry within the past few years. And also I think it's very
important, the environmental literacy. So I frequently look, if there's any new data or research when it
comes to like how people, um, what's their like environmental actions, what do they do? Um, what's
their understanding of what is and what isn't environmentally friendly. So, for example, there's been
quite some research done within the past few years that like if you ask people of Lithuania, uh, do they
do something environmentally friendly? They always say, yeah, I recycle. So at the moment a lot of
people think that sustainable living and environmental friendliness is very related to recycling, which is
true. But also there's so many other aspects, you know, our carbon footprint and, you know,
biodiversity and all these other factors that should be also considered. But I've noticed that not that
many people understand what that is and don't really like focus on that and their daily lives. So I don't
have a specific method of or way to calculate whether what I do is impactful or not. But these two
factors of like eco consciousness and environmental literacy are two things that I sort of always look in
the society and see if there's a change within these past seven years. Um, do people like, for example,
when I write articles, is there a need to, um, I don't know, explain certain terms or do people already
know that? So it's very much, you know, you cannot really put it like, um, how do you say it's like a
qualitative, more of a analysis, not a quantitative one. You can really put that in numbers. Um, but also
when working in Delfi, I would always look at the views and how much like views would sustainability
content gain. And that's also I think a big factor to see are people interested in that or not. But also
that's also very relevant because if you create something interesting, people will click on it no matter
what the topic is. So just because not a lot of people read articles about sustainability, it can always be
because the article isn't very interesting. It's not something that those people can relate to. So, it's also
not really a factor that you can solely consider and say, hey, you know, people read or don't read
articles about sustainability. If the article is good, people will read about it. If it's not good, people
won't. So it's I take that into consideration, but I think, uh, any sort of topic can be put in an interesting
way, and you cannot really say that people are not interested in some topics just because they don't
click on it. So yeah. But again, like calculating the impact and seeing whether it's working or not is
very difficult. So you just every single piece of content that I create, whether it's an article, a show, a
documentary, you just see how people react to it, how many people watch it, um, you know, you talk to
people, what they enjoyed it, what they didn't enjoy in that content. And from that you sort of gain
some experience. And I always say to people, if you want to talk about sustainability. And so people

48
would click on it, let's say that let's put it that way. Um, I think there's a few aspects. If, if it has
something to do with people's, uh, money. Uh, so if something some, some sort of products are getting
cheaper, some things getting more expensive. If, for example, a great example is when the war started
and the energy became very expensive, a lot of people moved to solar energy because it was cheaper.
And that was a very good point to talk about, like renewable energy and the positive impact of like
renewable energy for the environment, because people were actually interested, because it helped them
to save money. So whenever we would talk about renewable energy, we would find a way to talk about
it through how much you would save up if you would use renewable energy, how it's a safer choice,
how it's not as affected by wars and stuff, how it's related to, um, economical independence and energy
independence for a country. So that would always like really work. So I would always say that if
something to

Accomplished online storytellers, in its many forms, prioritize the importance of effectively presenting
a notion via a unique identity that incorporates style, visual communication, expressive linguistic
expression, and a deep grasp of the presenter's narrative. Within this framework, we have entered the
age of branding and the need to pinpoint a particular market niche in order to exhibit equipment
motivated by passion. The pragmatic act functions as a directive for the channel. The value supplied by
these channels generally involves supplying creative and educational information, as well as the chance
to access distinctive and attractive content. The case studies in this chapter have the common
characteristic of specializing in their own specific market segment, discovering their own identity,
establishing relevance with the current era, and providing either innovative or community-oriented
value, or both.

that's that's the way to do it. So I guess, yeah. Whether money, health, I think there was one more
thing. Oh, and just other crisis. Yeah. Just other crisis in general. When the war in Ukraine started, we
talked a lot about how the war is affecting. There's also an eco war happening and an eco catastrophe is
happening in Ukraine as well. So it's also like a good, like a good moment when people are already
reading a lot about it, following it on the media. It's a good time to like add this sustainability message
to to what's happening. Yeah. So I think that would be super smart.

Interviewer: Super interesting. Incredible. And, and uh, so, so uh, following on that, like you
mentioned, you're trying to reach like a wide audience in general. So, you don't you don't try to like,
narrow or target a specific criterion of people in your in your messages or in your, um, uh, like stories

49
in general. You try to, um, appeal to most people in general. So, so that's, that's also like the way, uh, it
affects the way you curate the story, as you mentioned, because you're trying to bring in an angle that
would reach an even wider audience. Uh oh, yeah.

Rugile Matuseviciute: Absolutely, absolutely. I used to have a TV show that was on Sundays right
before the like, the Christian mass happened, like they would broadcast Christian Mass on Sundays at
12, and my show was at 11 a.m. and I found it to be a perfect time because you know that then the
older generation is tuning in a bit early and they're gonna watch the masses, but accidentally they're
going t o watch a show about sustainability. So I think finding these linkages on how to, like, attract the
common person who would not necessarily read about climate change or science and all these things
because, um, when I did my first podcast, I looked at the statistics and it said that like 65% of the
audience was from Vilnius and the average age was 25 to 30 years old. So basically, um, hipster
millennials living in the capital. And I sort of realized that these people already know these issues or
they're already doing their part. So if they can afford, they're buying an electric car, they're recycling,
they're avoiding plastic pollution, not buying fast fashion and stuff like that. They know some sort of
like eco certificates that they can follow and shop. So they're already doing their part. So what's the
point of creating content for them? You can still do it because there's still so much to talk about. But
these people like they want a deeper knowledge and that's great. But I think there's still like 99% of the
people that live in like rural areas that lack, I don't know, higher education and they don't really follow
these topics, but they're the ones, you know, voting and actually doing their part. And I think it's very
important to inform these people as well. So yeah, in my job, I really try to focus on how to reach those
people because people with the knowledge already have it and they know English, they can look other
like they can listen to podcasts, they can find information online, but, you know, older generation
usually doesn't do it. And I think it's very important to reach them as well. Speaker2 Incredible. Yeah.
Sounds like your purpose is absolutely clear, you know, in what you're doing. And, and uh, that's super
inspiring. Definitely. Um, uh, and, and, uh, another part of my research is quite like, uh, prominent as,
like, uh, I'm trying to figure out the question of, like, what makes, um, certain content or stories, uh, a
bit more enduring, uh, in terms of, like, they stand the test of time and and they could they like their
their. Yeah. Their message could be reflective even like, let's say ten years from now or 20 or
whatever. But, uh, what do you think would make up for content like that? Um, um, specific. Yeah.
Yeah. I think. Speaker1 Uh, it's a very simple example of that. But every, every year I think about it
that, um, so like six years ago I wrote an article, uh, which Christmas tree is more sustainable? Uh, real
one or a fake one? And I just wrote the article. Just a simple one. I released it, and every single year
50
look at the statistics and the people that googled it, like the number rises around December. So, I think,
like trying to look at topics that like, are repetitive in people's lives. And they come back to these
questions and something that everybody has in common. So, talking through those, like through those
points, is something that makes people want to come back and like, and, you know, research
something. And even so, one year a certain person Googles it, the next year another one Googles it. So,
I think it's very important to have these topics, these basic things already covered and people will come
back to it. And also repeating, I think it's also very, very important that, uh, you know, just because you
did a show about a certain topic doesn't mean you're done. There's so many topics that I come back to,
like, I don't know, recycling or water pollution. Speaker1 These are like topics that you can talk about
every single day, and they're still going to be new people that are going to find it. So, I think it's yeah,
it's also very important. But whenever I make content, I also. Please look at the calendar. And I always
say that like my colleagues, journalists always look at the calendar. There's some is there something
going to happen every single year, like a celebration or an event, um, that people really like focus on
Christmas, I think is a great example for that. And Christmas is a great time to talk about many
environmental issues. So, I think just thinking about things, what a daily person like a single like
regular person Google is, and what do they think about every single day? Something that helps you to
create content that people will get back to or more people will find eventually, since it's online, it's also
very helpful. Of course, I think all of this media has to be online and paper is not doing its job anymore,
unfortunately. So yeah, I would say that.

Interviewer: Yea. Sorry. I'm hearing. Sorry. But. Yeah. Sorry. Since you mentioned that, you think like.
Yeah. So basically, uh, like audio visual, uh, content video journalism is more enduring now as well as
opposed to like, uh.

Rugile Matuseviciute: Oh, absolutely. Absolutely. And I don't even think that not even TV shows
anymore. I think social media now is taking away. And I think that's the new way to communicate
about it. And every single content that I do, I always think of like, can I put it on Instagram, on TikTok,
on Facebook, because now people don't really consume their media going even to a certain website,
right? You don't really just type in a news outlet and read the news. Some people do it. Oh, it's hard.
Sorry, my sister was calling, so some people do it, but the majority of the people are getting their news
from social media now. So, I think it's also very important to find ways that the content you create is
accessible on like social media platforms. I think that's also very, very important. Speaker2 And you
mentioned before like the timing element, like how you would pick up specific time frames to, to, to
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position a certain story and, and, and make it relevant. So that's something that that you, you work with
as well in general. Speaker1 Oh yes. Absolutely. I think it's, it's whenever like you follow the news and
you always read, I don't know, whatever is happening in the world at that moment, you think, is there a
sustainability side to it that I can add? Because since there are not that many journalists in Lithuania, if
you don't do it, there's a very low chance that somebody else will. So, you can always think of, you
know, whatever's happening, war, the crisis or Christmas or whatever. Um, you look at the calendar
and you think, okay, is there something, is there a way, is there a gap that I can put sustainability on
this topic? And yeah, it's usually very effective.

Interviewer: Okay. Brilliant. And basically what I take as well from you is like, yeah, basically the
saturation of online storytelling now if you want to reach audiences is pretty much socials, uh, like so
um, so yeah, like if you want to reach an audience, you're going to, you're going to have to go into, uh,
pretty much like, yeah, relegate some at least content to, uh, Instagram or TikTok or where, where,
where the statistics are showing people's attention is at, you know, so so that's that's absolutely. Yeah.
So that's a delicate approach as well. Brilliant. All right. So, uh, maybe two more questions. Um, yeah.
Uh, like does deadlines affect the quality of the story? Do you commission your own projects, or do
you have a balance between getting commissions versus commissioning your own or, uh, and how do
deadlines come into play with that? Like, um, oh, the deadlines are terrible. Quality is affected in
general.

Rugile Matuseviciute: Oh, of course it affects the quality a lot, especially if it's like bigger research or a
bigger investigation. And if you work with the bigger media outlet, of course, they're interested in like,
uh, pushing the articles as fast as possible and as many as possible. And that sometimes ends up like
resulting on the quality of the project as well. So myself, like personally, I do some individual work
where there's like no deadlines and I can work more, more in it and it's usually not as like time
restricted, but like working with Dentsu for example. It's it's the deadlines are very harsh, and it really
affects a lot of journalists because I have a colleague who writes articles. She is like a traditional
journalist she works for. So she works for Delphi and a news agency, Elta. So for news agencies
especially, it's even more difficult because you have to release an article every single day, which is
great if you want to touch up on like a lot of topics quickly, but you cannot really go into depth. And
with climate change, it's such a complex topic that it requires going into details sometimes. And, you
know, it's it affects I would say it affects the quality of the content you produce. Quite a lot. Yeah.
Wow.
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Interviewer: I can yeah, I can imagine that. Um, and yeah, I spoke with one, um, journalist from Kauno
Diena and she mentioned the same as well. Like, sometimes they don't even, like have time to fact
check certain things they just put out and just watch what happens. So super interesting. Uh, okay, so
my last question, Regala, and thank you so much. So far, this has been the most spectacular interview
I've had literally for this project. Um, I'm amazed completely. And, uh, so the last one is like, um,
advice would you give to just a generic online store, somebody with a capacity to sell stories? Uh, and
who is knowledgeable enough? But what, uh, what, um, advice would you give, uh, that person in
terms of finding a niche or, uh, like how to find a niche, basically. Um, is there a way to, to, to narrow
down and discover what could be one's like niche for, for, uh, presenting something that that would be
particularly authentic or, uh, developing that authentic voice or, um, in relation to something important
to, to be told.

Rugile Matuseviciute: Yeah. I think that's like a difficult question because I think there's journalists that
choose to write about a certain topic because they're passionate about it. So, I know, like science
journalists or technology journalists or environmental journalists, for example, that are passionate about
these things. And naturally, then it comes to them, and they create these topics without any like force.
They don't have to force themselves, um, to do it. So I think it's finding a niche. It's very much related
to what you're passionate about. Personally, for me it was always an environmental issue. Even before I
started doing this job, I was always very interested in these topics. Um, so I think I think that's one
thing, but also in Lithuania it's relatively easy because we still have a very standardized media. So,
journalists write about the news and whatever people click on and there's so many areas that can still be
touched upon and investigated more and analyzed more. And I think science journalism is one of the
one of those things. Definitely. We don't have a lot of science journalists, um, just technology
journalists as well. But, uh, yeah, I think it's very unique. I don't even think if perhaps I don't know the
answer, maybe somebody does. Speaker1 But for me, it's just if you're not passionate about the topic,
there's not going to be a niche for you. You have to, you have to sort of create it yourself. And I always
remember this, um, tip from the news agency director, my colleague. He said, there's always a story. If
you're personally interested in something, that means there's already one reader and there's probably a
few more there in the world. So, you don't have to, like, limit yourself and say, oh, people don't read
about something. I'm not going to write about it, which is definitely not true. You know, this whole,
um, agenda setting theory. I believe that, uh, there's a way to write about whatever you want. People
don't. I will tell you what to write about. Audience doesn't sort of, um, restrict you. Um, you can write
if as long as you find a way to talk about it. Interestingly, you can talk about whatever, whether it's
53
horses, teas, cookies, cars, whatever. You can always find a way. So I think it's just being a good
storyteller and finding a topic that you're passionate about is, um, it's just. Yeah.

Interviewer: Incredible. Yeah, that that makes for it. That makes for a good answer. Really? Yeah. Um,
yeah. Just brilliant. Um, yeah, that was super helpful. Um, yeah. I'm like, during my research, I'm just
narrowing down on, like, aspects of, like finding a voice on online, uh, for, for, for, for online
storytelling in general and, uh, the aspects that makes content and content enduring, etc. Um, and of
course, just looking into, um, uh, like some case studies and, and some other interviews to, to uh,
relegate information in relation to that, you know, and um, and I think this interview has been, uh,
yeah. The most astounding really, um, I'm going to note a bunch. Yeah. I'm very.

Rugile Matuseviciute: Very happy to hear that. Yeah. One thing I forgot to add, but I think it's also
quite important, but like, environmental journalism is, um, so there's these environmental psychologists
and Lithuania, we have a team of researchers that, like, investigate why and how people, um, are
interested in environmental issues. So, for example, I work very closely with environmental
psychologists because they can usually tell you the things that people are not interested in or don't have
the knowledge. So, I think it's for journalists. I think it's very, very important to work closely with
scientists and researchers to get knowledge about their personal like about their audience and the
knowledge of the audience that they have. And it cannot be only done with environmental journalism.
It can be done with everything. But I think working closely with scientists, I think it's one thing that our
media now lacks, lacks a lot. And, you know, there's this open science movement that science should
be, um, available for everyone. And I think journalists have that role to work with scientists and sort of
create messages that are understandable. And you this science communications part on behalf of
scientists. So yeah, I find it very, very important. I have like a few close colleagues, scientists that
whenever they find interesting research, whenever they find something that's they find important to
share with the people, they contact me and we look for ways on how to make it more, you know,
approachable for a broader audience. I think it is also very, very important. Yeah.

Interviewer: That makes a lot of sense. And, and in that sense, like I feel I feel you have also something
uh, like pretty special in terms of like your values are quite defined. You know, the values for you as
set out. You know, you know what you're doing. And the purpose is super clear, you know, and, uh,
some, some, some of the issues that rise with, uh, just like the propagation of some content creators or

54
whatever is like the values are not clear all the time, you know? So, it's like it could differ from story to
story. And, uh, and yeah, defining these values is, is something also that, uh, I've been looking at, but
it's, it's, it's incredible. And the fact that you bring in the spirit of collaboration because I investigate
community value as well and the spirit of collaboration and working with scientists, as you mentioned,
psychologist brings the aspect out as well. So, um, so, so yeah, that's yeah. Pretty, uh, insightful.
Really. Yeah

Appendix C. Turtle Vision Visual Identity

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Appendix E: Survey for Audiences

1. What kind of online content do you see yourself watching 30-40 years from now?
2. What is your favorite online channel currently? YouTube, stream service or other? If you have
one?
3. Hard copies or soft copies? Book/vinyl or kindle/Spotify?
4. How much time do you spend watching online content per day?
5. What type of content do you often watch? entertainment, educational, or informative?

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Appendix F: Postcards To the Future: Kaunas Edition Episode One

https://www.youtube.com/watch?v=0sntAKwWi2M

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Appendix G: Solarpunk Series the Story of Garage27: The Epic Place in Space

https://www.youtube.com/watch?v=ablGzhmNdgs

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