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.
The current Special Issue launched with the aim of further enlightening important CH areas, inviting researchers to submit original/featured multidisciplinary research works related to heritage ...crowdsourcing, documentation, management, authoring, storytelling, and dissemination. Audience engagement is considered very important at both sites of the CH production–consumption chain (i.e., push and pull ends). At the same time, sustainability factors are placed at the center of the envisioned analysis. A total of eleven (11) contributions were finally published within this Special Issue, enlightening various aspects of contemporary heritage strategies placed in today’s ubiquitous society. The finally published papers are related but not limited to the following multidisciplinary topics:Digital storytelling for cultural heritage;Audience engagement in cultural heritage;Sustainability impact indicators of cultural heritage;Cultural heritage digitization, organization, and management;Collaborative cultural heritage archiving, dissemination, and management;Cultural heritage communication and education for sustainable development;Semantic services of cultural heritage;Big data of cultural heritage;Smart systems for Historical cities – smart cities;Smart systems for cultural heritage sustainability.
Pojava digitalnih tehnologija u filmu promijenila je postojeće modele produkcije, distribucije i recepcije. Neki teoretičari gledaju na digitalnu tehnologiju kao prijetnju indeksnom fotografskom ...realizmu te vjeruju da se ta ista karakteristika zanemaruje ili čak potpuno gubi kod digitalne slike. Dokumentaristi brzo prihvaćaju nove medije i tehnološke promjene, kako kroz povijest tako i danas, jer im otvaraju veće mogućnosti u procesu stvaranja filma, ali omogućuju i veći angažman korisnika odnosno gledatelja. Novomedijski dokumentarni film nastaje isprepletanjem različitih medija i novih tehnologija, ali to nužno ne pretpostavlja da je dokumentarac u krizi, dok je korištenje digitalnih tehnologija manje radikalno i prijeteće za prirodu filma, nego što se to u početku činilo.
This article articulates the authors' combined vision behind convening i-Docs, the first international symposia to focus exclusively on the rapidly evolving field of interactive documentary. In so ...doing, it provides a case study of practice-driven research, in which discussion around the act of developing and making interactive documentaries is seen as being a necessary prerequisite to subsequent theorizing in relation to their impact on the continuing evolution of the documentary genre. As an essentially interdisciplinary form of practice, the article provides a conceptual overview of what interactive documentaries (i-docs) are, where they come from and what they could become. The case is made that i-docs should not be seen as the uneventful evolution of documentaries in the digital realm but rather as a form of nonfiction narrative that uses action and choice, immersion and enacted perception as ways to construct the real, rather than to represent it. The relationship between authorship and agency within i-docs is also considered as being central to our understanding of possibilities within a rapidly evolving field of study.
Cet article propose une définition d'un nouveau type de documentaire dit documentaire interactif à partir de trois angles: l'utilisateur, l'interactivité et le documentaire. Il propose un modèle ...ainsi qu'un argumentaire critique.This paper proposes a definition of the new type of documentary so-called interactive documentary from three points of view: user, interactivity and documentary film. A proposed model is offered and an argument concerning the elements of the model is also discussed.
The Sochi Project Rampazzo Gambarato, Renira
Digital journalism,
05/2016, Volume:
4, Issue:
4
Journal Article
Peer reviewed
The Sochi Project is a distinguished example of slow journalism. The project, a transmedia experience built by Dutch photographer Rob Hornstra and journalist Arnold van Bruggen, depicts the hidden ...story behind the 2014 Winter Olympic Games in Sochi, Russia. The project involves an interactive documentary, numerous print media extensions, digital publications, and an exhibition. Transmedia storytelling involves the unfolding of a storyworld in which instalments of the narrative are distributed across different media platforms to engage the audience and offer a meaningful experience. The case study paper aims to discuss the premises of slow journalism within the transmedia space as the theoretical background on which the analysis of the project is founded. The transmedia analysis delineates how The Sochi Project is developed and, consequently, how slow journalism can benefit from multiplatform media production. In conclusion, slow journalism is not necessarily attached to traditional media, but the opposite: it is aligned with the new possibilities offered by novel technologies. The relevance of the paper relies on the exemplification of slow journalism within transmedia dynamics.
The current work focuses on the implementation of audiovisual production technologies for preservation and demonstration of local tradition and Cultural Heritage (CH). A methodological framework is ...proposed for the production, digitization, authoring and presentation of audiovisual (AV) content, related to traditional music and dances. The production chain involves content restoration, description and management of archived material, direction of documentary biographies, demonstration of folk customs and filming of chore-theatrical acts, aiming at creating historical, informative and educational video entities. User-friendly interactive environments are employed by means of media browsing menus and multilingual narration, utilizing new AV authoring. The proposed methodology has been implemented on the occasion of a folk-heritage multilingual DVD video production and its enhanced Web-TV edition11“The clarinet in the Greek tradition: Vaios Maliaras, his life and work”, online: http://arutv.ee.auth.gr/archiver/.. The paper brings forward novel theoretical, technical and mostly methodological guidelines in preserving and disseminating CH, using state of the art AV production technologies.
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.
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.
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