What is at stake if the recent past and social atrocities are hidden by taboos? How can one break up established patterns of media making? How can ancient sociocultural infrastructures in combination ...with digital documentary promote campaigns to raise one's voice and achieve social
and political change? Taking The Quipu Project (2015) as a test-stone, we discuss the potential of documentary transmedia configurations to allow a hitherto silenced group of people in Peru to collaboratively tell their stories on-line and to promote action taking for justice on the
ground. Bringing together Cizek's notion of interventionist media making, Daniel's concept of context-provision, Aston's considerations on 'emplaced interaction' and the idea of co-creation, this contribution offers some propositions for a better understanding
of emerging digital mutations in doing documentary and their potential for transformation, revisiting paradigms of collective wisdom and impact as well as a modified version of Gaventa's power cube model.
Este artículo tiene por objetivo principal aproximarse a las nuevas narrativas de no ficción interactiva en medios de comunicación audiovisuales. En el contexto actual, marcado por la convergencia, ...asistimos a la hibridación de formas y lenguajes en el ecosistema mediático. Los cibermedios presentan una caracterización singular y los límites entre prensa, radio y televisión son cada vez más difusos. La innovación y la búsqueda de un valor añadido han llevado a la confluencia del periodismo con las narrativas transmedia, así como al desarrollo de nuevos formatos, como el documental interactivo, en la estrategia digital de las televisiones como cibermedios. El estudio cuenta con una metodología exploratorio-descriptiva, en la cual se relacionan y clasifican los documentales interactivos producidos por cibermedios en el año 2016, para obtener una visión panorámica de este género en el último año. En segundo lugar, se plantea un estudio de caso comparativo entre Párkinson, que tiemble el camino (RTVE, 2016) y Hacked (Al Jazeera, 2016). Ambos proyectos proceden de medios audiovisuales, y en ellos el análisis se centra en el docugame, que aporta novedades para el usuario, el contenido y el medio a través de la ludificación, la simulación y la búsqueda de un mayor engagement de los usuarios.
Interactive documentaries have been growing in number and importance on the international scene in numerous fields and markets. Interactive documentaries entered the field of health about a decade ...ago, and since then they have proven to be a worthwhile tool for exploring various health
issues, such as living with HIV. More recently, experts and academics have started to explore interactive documentaries dealing with a newly emerging topic - stigma. Stigma has negative consequences in every aspect of a person's life. When it comes to health, people with stigmatized
conditions have the worst outcomes, a problem ultimately related to their own power and agency. The media and culture are two structural sources of stigmatization, and cultural trauma has been suggested as one of its mediators. This study seeks to examine interactive documentaries as a tool
for raising awareness of the impact of HIV-related stigma and cultural trauma. To this end, it analyses two interactive documentaries, Vertical/Horizontal and The Graying of AIDS, focusing on the device, narrative and textual elements used by these documentaries to deal with
the impact of stigma in health, and elaborating on how these cultural productions represent people living with stigma and whether that representation challenges or reinforces stigmatization.
Audience research proves that possibilities of interaction in i-docs are often not fulfilled by the user, who is not really part of a 'work in progress' (as intended by the makers). With the shift ...and development of new digital formats (360-degree-films, nonfictional VR
experiences, AR apps), the question of the possible interactive potential should be addressed once again. Since VR projects are fully immersive (mostly using head-mounted displays), there is no possible distraction from outside on the one hand. On the other hand, there is a shift from the
computer game style aesthetic of early i-docs, with their pure spatial arrangement of events, to a more inclusive digital storytelling modality with the user experiencing his own world-building. This will be discussed with taking into consideration the non-fictional VR experience as a mode
of actively combining immersion and storytelling for a satisfactory user experience. Afterwards two very different examples of nonfictional VR production will be presented, and their modalities will be briefly touched; the utilized approach and its user response will be discussed. A look at
the future of possible developments concludes the essay.
John Grierson’s classic definition of documentary as the “creative treatment of actuality” emphasizes both the genre’s indexical link to reality and the maker’s perspective on this reality. In recent ...times, a substantial number of so-called “interactive” documentaries has seen the light of day. In this paper, one dimension of such online documentaries, namely the freedom of users to access content via different paths of navigation as well as to skip material, is discussed from the perspective that a documentary, in a necessarily subjective way, attempts to convince the viewer of something. Interactivity limits the maker’s opportunities to do so.
This paper explores Actor-Network Theory (ANT) as a framework for understanding interactive documentary. It examines Adrian Miles's work in this area, where he uses ANT as a way of conceptualising ...interactive documentary as socio-technical media assemblages and consequently to question the relationship between human and non-human agency as understood within the field. After introducing ANT and reviewing Miles's position, the paper engages in a detailed discussion of ANT's key concepts in the context of specific interactive documentaries showing how these concepts operate and examining the insights they provide. This discussion supports and extends Miles's position while also broadening and deepening interactive documentary's engagement with ANT through a more detailed and systematic engagement with its concepts than has been attempted previously. The paper concludes by raising issues concerning the adaption of ANT's concepts to the field, including the question of whether they offer a complete theoretical framework for understanding interactive documentary and by suggesting future lines of enquiry to address these issues.
Examining four interactive documentaries, this article analyzes how performance and mediation can encourage curosity, empathy, and accountability in relation to complex issues and perspectives that ...cannot be always represented with any pretense of objectivity or ethics in conventional analogue practices. They can foreground emotional and affective registers as meaningful - sometimes more meaningful than the empirical and rational registers typically prioritized in analogue media. They model a critical engagement with digital evidence, tactile interfaces, and locative experiences to navigate a postcolonial/transnational United States and allow for potentially multi-perspectival understandings of issues. Documentary studies historically focused on visible or audible evidence. It has paid less attention to invisible and inaudible evidence. By activating invisible geographies, interactive documentaries facilitate new ways of imagining relationships and new ways of enacting collaborative solutions to problems that are larger than any one of us. They can instruct in ways to navigate larger processes, such as forced migration and global warming. Rather than the universalizing revolutions of past centuries - industrial revolutions, anticolonial revolutions - the current moment demands micro-revolutions and micro-assemblies. In addition to devoting our intellectual energies and financial resources in 360° VR as a new mode for documentary presentation, we can focus on less expensive technologies that allow underrepresented perspectives to affect audiences.
Stories of reconciliation is a transmedia experience that collects the memories of people who have lived with violence and war in Colombia. Their stories are the script of an animated feature film ...and an interactive documentary. This project, directed by Carlos Santa and Rubén Monroy, was born in 2015, in response to the need to open opportunities for animation students at SENA - Center for the Graphic Communication Industry, will be linked to industry and development of real projects, in such a way that they will strengthen their performance as animators and the creative industry companies will generate confidence in their training. It was an experience in which it was mixed, or better, reconciled technique, research, artistic expression and forms of commercial and experimental production, in order to contribute to the construction of social fabric; which guides students to develop critical thinking related to such a complex issue as the war in Colombia.
This paper introduces interactive documentaries, or i-Docs, to geography through an analysis of one i-Doc, Gaza Sderot. I-Docs are an increasingly popular documentary form. Broadly defined by ...'nonlinear' spatiotemporal organisation, their interactive capacities enable multiple pathways through documentary footage and materials. It is often suggested that this nonlinearity is politicised by i-Docs to enable polyvocality and the destabilisation of dominant narratives. I argue that i-Docs deserve geographical attention for two key reasons. First, if geographers have long explored articulations and reformulations of space-time through media, then i-Docs offer an insight into contemporary constructions of nonlinear spatiotemporal imaginaries through an interactive medium. Second, nonlinearity and its politics have also become foundational to geography's own approaches to space-time, making pertinent the explorations of nonlinearity and its socio-political implications that engagement with i-Docs enables. In this context, I analyse Gaza Sderot to explore its construction of a nonlinear spatiotemporal imaginary and question the political perspectives that imaginary generates for its subject of the Gaza conflict. In concluding, I also suggest that i-Docs could be a valuable methodological tool for geographers.
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