El desarrollo del webdoc ha sido exponencial en lo que llevamos de siglo XXI, debido tanto al desarrollo y accesibilidad de nuevas herramientas para su ejecución como a un interés creciente por las ...narrativas interactivas. Asimismo, los estudios académicos se han ido preocupando por su definición y caracterización, aunque han dejado atrás cuestiones prácticas sobre su diseño, realización y postproducción. El presente artículo rastrea lo expuesto al respecto en varias investigaciones previas y plantea técnicas de escritura de guion, estrategias de diseño de plan de rodaje, y analiza la realización y postproducción de webdoc.
This exploratory research applies a transdisciplinary perspective between the fields of education, science communication, design, journalism and emergent technologies, exploring the interactive ...documentary (i-doc) as a proposal to open horizons for new techniques and practices that can improve education and the planning of communicative relations between people, digital objects and real life.Articulating storytelling, gaming and multimodality, one prototype is produced and its respective proof of concept is carried out in two classes: Biology and Geology students from a regular secondary school and Journalism students from the university level, being the respective teachers involved in the process. Action-research is applied within several techniques as bibliographic review, questionnaires, semi-structured interviews, participation observation and focus group, to test and evaluate the inherent proposal. The results are favorable to the usefulness and viability of the idea and it will be interesting to investigate in a more systematic way, to better understand the opportunities in the intersection between science, technology and art which stimulate the production and usefulness of hybrid learning opportunities.www.mariaparreira.comhttps://pt.linkedin.com/in/maria-jo%C3%A3o-horta-parreira
This article responds to the recent wave of experimentation with Virtual Reality (VR) as a nonfiction platform. Amidst daily announcements of new VR documentary initiatives, and at times giddy claims ...about the potential of this new medium, I consider how a media technology expected to enter the mainstream as a games platform became a magnet for nonfiction producers. VR is not a new medium, and has been the subject of a substantial body of research across arts and science. This research is also the site of claims for the pro-social potential of VR, which provide a significant context for its adoption for nonfiction. Less attention has been given to ethical risks posed by VR, which I highlight, and which I suggest require attention within documentary practice. The article concludes with a discussion of the symbiotic relationship between technology and content development in this arena. All these factors have come together at the intersection of VR and nonfiction to produce a heady mix of commercial excitement (hype) and techno-utopianism (hope) which this article highlights and analyses.
This article presents In Pieces VR, a VR-based artwork and experimental documentary on political prison, and discusses its main design challenges, goals, and creative approach. This project aims at ...creating a documentary and artistic experience that departs from conventional immersive journalism by presenting to its viewers a story made out of very small narrative units, and with subjects presented in the form of virtual sculptures devoid of any specific identity. The idea is that by leaving much of the making sense left open, viewers will have to fill in the gaps. The working hypothesis is that this will help create a different emotional, intellectual and political connection with the piece than that a conventional documentary would achieve, particularly to an audience unfamiliar with, or even politically alien to its specific context. Public exhibition of the work and user evaluation showed that the piece was successful in creating such connections.
The Glowing Divide (2015) is an interactive documentary exploring the topic of social isolation in young people. Created by a group of young adults at Knowle West Media Centre in Bristol, the project ...follows three teenagers with the aim to change perceptions of social isolation. This interactive documentary was used as a resource in a Critical Media Literacy intervention which deployed the methodology of Participatory Action Research and took place in Coventry in partnership with the creative production company Imagineer. Based on the outcomes of this research, I argue towards a Pedagogy of Difference 2.0, which is a new and more nuanced approach to teaching and learning with interactive media in complex environments. This innovative pedagogy embraces the limitations of interactivity on young people’s media production and does not take young people’s familiarity with technology for granted. In this regard, Pedagogy of Difference 2.0 acknowledges the contextual nature of teaching and learning, moving beyond the often abstract discourse of Critical Pedagogy.
What counts as documentary in the twenty-first century? More importantly, is documentary studies capable of contributing to a discourse that can both define the contours of and point beyond the past ...twenty-odd years of digital experimentation? During this time, documentary has been productively disassembled and its component parts strung about the white cube and strewn across the internet; however, it would seem its cinematic self has not developed much beyond the performative and reflexive 'new documentary' of the 80s-90s. In all likelihood, twenty-first-century new media documentaries exceed the horizons of documentary studies scholarship. In response, Jihoon Kim's Documentary's Expanded Fields: New Media and the Twenty-First-Century Documentary (New York: Oxford Press, 2022) and Kate Nash's Interactive Documentary: Theory and Debate (New York: Routledge, 2022) draw together an impressive array of alternative approaches. This review will compare how both books historicize this century's documentary in relation to the last.
Immigrant space – a place of convergence of multiple movements – engenders through rhythms of the everyday and an art of inhabitation of its people. It comprises stories of resilience that must be ...amplified and celebrated, especially when they are at a threat of erasure on account of systemic and structural violence, and/or a lack of concerted effort to document them. Little Pakistan is one such immigrant space inhabited by Pakistani Americans in Brooklyn, New York City. In this article, I propose a framework titled ‘Engender(ing)’ for a rediscovery of meanings vested in immigrant space, explaining its emergence and expansion across forms, delimitations and associations. The framework is then applied through a confluence of collaborative storytelling and interactive documentary. The outcome, Little Pakistan – Future Histories, is an interactive documentary project presented as a case study, with people – artist, community, publics – assuming the role of ‘innovators of meanings’ to rediscover Little Pakistan as an ‘ensemble of meanings’. I infer that this framework and its praxis offer promise for future collaborative new media documentary practice and research in the context of other immigrant enclaves, neighborhoods and similarly structured spaces.
This article intends to explore how interactivity and new technologies promote new spectatorship performances and subsequently affect the interactor's subjectivity. Through the analysis of three ...interactive documentaries, I propose and describe a taxonomy for addressing
the felt experience of interacting in digital environments. Each selected documentary corresponds to a different mode of interaction and, therefore, engages the audience in a particular way: Bear 71 (hyperlink mode), Fort McMoney (conversational mode) and A Journal of Insomnia
(participative mode). Throughout the analysis, I consider the interactor and the digital object as two interrelated and dependent entities that influence and shape one another. I argue the objects of interaction affect the viewers by inducing bodily felt sensations and shaping their
subjectivity. As so, the sensuous encounter between the interactor and the digital documentary provides a virtual gratification for the spectator's performance. Delving into a phenomenological and post-phenomenological investigation, I focus my attention in the microperceptions, as structures
of sensory perception in the bodily dimensions of experience, translated as senses. As fragmented, multilinear and dynamic forms, interactive documentaries provide the audience with the agency of manipulating and developing the narrative, while conversely engender in the interactors what I
address as ways of affection. I propose or adapt eight digitally disrupted and induced sensations, or senses of, for describing how interactive documentary affects users during the interaction performance: sense of control, sense of presence, sense of Self, sense of place, sense of
belonging, sense of almightiness, sense of endlessness, sense of incompleteness.
