The digitalisation of film, the evolution of new displays, and the day-to-day networking of a wide range of devices are creating new professional fields in filmmaking. New portals are opening up everywhere – principally in social networks, but also in public and semi-public contexts such as theatre and on mobile displays, to include mobile phones, tablets and VR headsets. They all use the moving image as a main communication and storytelling medium. At the same time, a massive market for moving images has developed in art, and the once basically rectangular monitor image and the 360º panorama complement each other. These new cinematic forms make possible (and require) new narrative techniques adapted to short attention spans, fragmented reception, new screening contexts, and cross-platform distribution channels. How, for example, does cinematic narration function when a story is simultaneously presented in sound and image on several displays located in the same room? How can animated elements be integrated into a website’s graphic concept? In an interdisciplinary team, who is responsible for creating moving images? How does one work with several media together (image, sound, and script) and how does one integrate content in a medially logical way? How do web-based, non-linear films function? How does one edit a film recorded with a 360º camera as opposed to a traditional camera? In short: How is storytelling changed by technical innovation and by the new reception contexts created by digital film?