El ámbito del documental interactivo ha tenido desde sus inicios una vertiente colaborativa. En la presente investigación se propone un modelo de análisis de la participación de la comunidad online ...en este tipo de producción, elaborado a partir de la literatura previa sobre esta cuestión. Después, se ha analizado una muestra de casos que ha evidenciado la diversidad de formas que adquiere la contribución de la comunidad conectada. A partir de las distintas tendencias detectadas, se han identificado y descrito cinco diseños participativos con distintas intensidades y finalidades. Finalmente, el modelo se ha aplicado a cada uno de estos diseños para su evaluación, lo que permite concluir que una participación significativa tendría que combinar varios de estos diseños teniendo en cuenta tanto la articulación de la comunidad alrededor del documental como su incidencia en el significado.
Foreign language documentary films offer limitless possibilities for language teaching and are an ideal medium for the integration of the target culture and for the promotion of serious and committed ...discussions about human rights, diversity, global issues, and sustainability. Language learning is based on current cultural contexts so that students become more engaged with the world. In order to integrate this world into my class, I became a documentary filmmaker and filmed everyday life while I was living in Nantes, France. In my interactive documentary (i-doc), students can explore the different opportunities that Nantes has to offer, from street art to socially engaged activities and student demonstrations. The learner watches and listens to interviews in the i-doc at their own pace and engages with the francophone community.
This article examines the evolution of interactive, cross-platform and transmedia documentaries within the context of the earlier model of database narratives and the impact of Web 2.0 technologies. ...Specific documentary projects illustrate how the interactivity supported by online platforms has influenced the aesthetics of form and altered conventional models of production and distribution.
The idea for this special issue of Alphaville originated at the i-Docs 2018 Symposium, held in March 2018 in Bristol, UK, where we jointly convened a discussion on the potential engagement of the ...interactive documentary (i-doc) form with Mikhail Bakthin’s expanded concept of polyphony. As part of this, we presented a series of provocations with a view to generating a new theoretical framework for i-docs.1 These provocations were inspired by all aspects of Bakthin’s polyphony, from both a theoretical and a practical point of view.
The article is devoted to research of a new phenomenon for documentary practice—the interactive documentary film. The phenomenon of its aesthetic originality consists in the combination of such ...oppositions as documentary and virtuality. In this work two key issues for further study for hybrid documentaries are raised: 1) how and by means of what technologies in an interactive documentary a picture of the world is formed in the consciousness of the user; 2) the psychological characteristics arising in a person’s consciousness out of the interaction with documentary virtuality. The image of the real world, supplemented with the aid of the technologies of “augmented reality,” with the essential elements of computer games—menus, maps of the area, and clue buttons, is able to build connections in the human psyche which link the surrounding reality with the virtual world. An interactive documentary is not yet identical to virtual reality, but makes use of some of its functional principles, which for some factors (duration of exposure and individual psyche) can form the illusion of a false connection for the user—“control of life on the screen is equivalent to control of real life” gives a person situated on the other side of the screen «a false confidence in the full control over the image.” The main problem associated with virtual documentaries is perceived by us as the immersion of a chronicling document into an environment very close to the environment of a computer game, the study of the document by means of computer game techniques, which could potentially form a habit of treating reality as a game, with its controllability of parameters and its possibility of exit. We will call the IDF space “conditional, or game documentary.” It offers the user “super-abilities” wherein he perceives the physical world on the screen, thereby equating the rules for finding physical reality in the world with the rules of the world of computer games. Creation of numerous virtual worlds, both illusory and documentary, gaining ever greater scale and depth, imitating reality better and better, sooner or later will lead to a situation of equivalence for the person of the real world and the virtual world. Статья посвящена исследованию сравнительно нового для документальной практики явления — интерактивного документального фильма. Феномен его эстетического своеобразия заключается в совмещении столь оппозиционных явлений как документальность и виртуальность, связь которых в едином пластическом пространстве в отечественных трудах ранее не исследовалась. В данной работе поднимаются два программных для дальнейшего изучения гибридной документалистики вопроса: 1) как и с помощью каких выразительных инструментов посредством интерактивного документального фильма в сознании пользователя формируется картина мира; 2) психологические особенности, возникающие в сознании человека при взаимодействии с документальной виртуальностью. Образ реального мира, дополненный благодаря технологиям «расширенной реальности» обязательными элементами компьютерной игры — меню, картами местности, кнопками-подсказками, способен заложить в психике человека связи, скрепляющие окружающую действительность с миром виртуальным. Интерактивный документальный фильм еще не тождественен виртуальной реальности, но использует некоторые ее функциональные принципы, что при некоторых факторах (длительность воздействия и индивидуальные особенности психики) может сформировать у пользователя иллюзию ложной связи — «управление жизнью на экране равноценно управлению реальной жизни», — дает человеку по ту сторону экрана «ложную уверенность в полном контроле над изображением». Основной проблемой, связанной с виртуальной документалистикой нам представляется погружение хроникального документа в среду, весьма близкую к среде компьютерной игры, изучение документа через приемы компьютерной игры, что потенциально может сформировать привычку отношения к окружающей действительности как к игре, с ее управляемостью параметрами и возможностью выхода. Мы назовем пространство интерактивного документального фильма «условной, или игровой документальностью». Оно предлагает пользователю «сверхспособности» при восприятии на экране мира физического, тем самым приравнивая правила нахождения в мире физической реальности к правилам мира компьютерной игры. Создание многочисленных виртуальных миров как иллюзорных, так и документальных, обретающих все больший масштаб и глубину, все лучше имитирующих реальность, рано или поздно приведет к ситуации равноценности для человека мира реального и мира виртуального.
This project explores the graphic interface design of interactive documentaries (i-docs) about housing projects between Canada and France. Against the backdrop of the modernist, utopian fantasies ...that constructed these large-scale housing developments, contemporary documentarians intervene in the social space of the multicultural city via creative interface design. I-docs like Highrise (Cizek, Katerina. 2010. "Out My Window." National Film Board of Canada.
http://outmywindow.nfb.ca
; Cizek, Katerina. 2011. "One Millionth Tower." NFB Highrise, November 5, 2011.
http://highrise.nfb.ca/tag/one-millionth-tower/
; Cizek, Katerina. 2015. "The Universe Within: Digital Lives in the Global Highrise." National Film Board of Canada.
http://universewithin.nfb.ca/desktop.html#index
), (B4-Windows on the Tower, Jean Christophe Ribot, 2012,
http://www.francetv.fr/nouvelles-ecritures/banlieue-b4/
), and Sarcellopolis (Sébastien Daycard-Heid and Bertrand Dévé, 2015,
http://sarcellopolis.com/en/
) employ user interfaces that conjure the vertical and horizontal dimensions of social interaction in the urban built environment. They are most successful when they move beyond narrative to mobilize objects and space, thus enacting the 'promiscuous relations' of urban experience and simulating the chance encounters of the urban public sphere.
...a summary of the current state of development and the challenges that the genre needs to face in a journalistic context will be elaborated. 2. ...transmedia narratives are moving to nonfiction for ...proposals through multiple platforms and thought for active users.
The article explores issues surrounding the emergence of interactive documentaries
for social purposes. It discusses how the interactive narratives of these
documentaries are linked to the social ...functions and purposes of the project, especially
when integrated in broader communication strategies. The author follows the
perspective of relational aesthetics and uses the notion of creative device as a way
of reflecting on the issues pointed out. The article concludes with the discussion of
the issues concerning the design and development of the interactive documentary Ilha
Grande; cada playa, una isla; cada isla, una historia.
L’article explore les problèmes entourant l’émergence de documentaires
interactifs à des fins sociales. Il explique comment les récits interactifs de ces documentaires
sont liés aux fonctions sociales et aux objectifs du projet, en particulier
lorsqu’ils sont intégrés dans des stratégies de communication plus larges. L’auteur
suit la perspective de l’esthétique relationnelle et utilise la notion de dispositif créatif
comme un moyen de réflexion sur les problématiques mises en avant. L’article se termine par la discussion des problèmes de conception et de développement du
documentaire interactif Ilha Grande ; cada playa, una isla ; cada isla, una historia.
O artigo explora questões em torno do surgimento dos documentários interativos
com propósitos sociais. Discute como as narrativas interativas desses documentários
se apresentam vinculadas às funções e propósitos sociais do projeto, em
especial quando integradas em estratégias mais amplas de comunicação. O autor segue
a perspectiva da estética relacional e recorre à noção de dispositivo criativo como
uma forma de reflexão sobre as questões apontadas. O artigo encerra com a discussão
das questões na concepção e desenvolvimento do documentário interativo Ilha
Grande; cada playa, una isla; cada isla, una historia.
El artículo explora cuestiones en torno al surgimiento de los documentales
interactivos con propósitos sociales. Discute cómo las narrativas interactivas de
tales documentales se presentan vinculadas a las funciones y propósitos sociales del
proyecto, en especial cuando se integran en estrategias más amplias de comunicación.
El autor sigue la perspectiva de la estética relacional y recurre a la noción de
dispositivo creativo como una forma de reflexión sobre las cuestiones apuntadas. El
artículo concluye con la discusión de las cuestiones en la concepción y desarrollo del
documental interactivo Ilha Grande; cada playa, una isla; cada isla, una historia.
Beyond “toolness” Wiehl, Anna
Alphaville,
10/2018
15
Journal Article
Peer reviewed
Open access
The hypothesis underlying this article is that new documentary practices potentially enable new forms of mediation allowing all interactors to experience complexity and deal with contingency in a ...world of polyvocality through multilayered configurations. An exploration of the Korsakow documentary Racing Home (Marianne McMahon and Phil Hoffman, 2014) brings into focus the epistemological and ontological status of these assemblages. A central issue is the question of how significantly specific modes of editing in Korsakow affect the overall experience for both the authoring instances and for the user-interactor: not only the authorship is shared between the interrelated agents, but also the heterogeneity of materials from various sources adds to the complexity of the assemblages. Central research questions include the role that polyvocality and algorithmic editing play in Korsakow, its specific embracement of contingency and its probing of nonlinear narratives. The answers provided through the analysis of the case study lead to the conclusion that Korsakow is more than just a tool to promote a special purpose and/or a platform to distribute material. Rather, Korsakow is best seen as a methodology to approach complex matters and provide multiple affective and cognitive ways to respond to them.
This paper considers the forming of an essayistic voice in an online interactive documentary called Grey Skies/Blue Skies. Made in the context of project-based research Grey Skies/Blue Skies combines ...an essayistic voice-over with a collection of short video clips, where each clip has multiple possible relations to other video clips within the documentary. I will speculate the multilinear affordances of Grey Skies/Blue Skies create a form of essayistic voice specific to the online environment. Akerman's (1976). News from Home. DVD. Directed by Chantal Akerman. New York: Criterion Collection News from Home is an essay film which opens a distance between voice-over and panoramic shots of New York City to invite the viewer to think that I will use to see how Grey Skies/Blue Skies realises voice in a multilinear context. From the combined perspectives of multilinear documentary and the essay film this paper will provide a concept of essayistic voice specific to the implications of the network as a particular site for documentary practice.
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