Provider: - Institution: - Data provided by Europeana Collections- Esta investigación, planteada como un recorrido a través de lo inmediato en el campo de las nuevas narrativas audiovisuales, tiene ...como objeto el acercamiento, desde una actitud analítica, al universo relacional existente entre el documental y la narrativa transmedia en el contexto de la convergencia mediática; y desde ahí, abundar en la emergencia y prácticas de la actual producción transmedia documental y sus distintas estrategias creativas y modelos de producción empleados. A su vez, este trabajo, estudia los principales cambios operados en el seno del documental contemporáneo a partir del surgimiento y cristalización de nuevas formas y estrategias documentales, así como de las distintas retóricas que se insertan en el escenario mediático digital, siempre en constante mutación, resultado de la hibridación entre tecnología y creación. Es así como dentro de este territorio mestizo del denominado “cine de lo real” contemporáneo, nos encontramos con etiquetas de nuevas tendencias y formatos (que van desde el mockumentary al documental expandido, entre otros, hasta llegar al documental interactivo como último género consolidado) y con toda una batería de procedimientos formales y estrategias retóricas que articulan una onda expansiva de asombrosa libertad creativa para conformar nuevas estéticas, capaces de reconfigurar dispositivos documentales de representación y enunciación tan diversos como sugerentes. En este marco, del cual se realiza una suerte de taxonomía de sus rasgos y formatos más significativos, emerge la narrativa transmedia vinculada a lo real, al documental, con su expansión del relato en distintos medios y plataformas. Tras el establecimiento de conceptualizaciones asociadas a la narrativa transmedia, se abunda en cómo opera ésta en el seno de la producción de ficción y en el propio de la producción documental, para establecer los principios que constituyen esta realidad, en permanente estado de construcción, por parte de los consumidores, así como en sus modos y procesos de producción.- The object of this research, set out as a study of the current situation in the field of the new audiovisual narrative techniques, is to approach, from an analytical point of view, the relational universe that connects the documentary with the transmedia narrative in the context of media convergence, and thence study in greater depth the emergence and practice of contemporary transmedia documentary production and the different creative strategies and production models employed therein. This study also analyses the important changes that have taken place in the field of the contemporary documentary with the rise and increasing implementation of new documentary forms and strategies as well as the different strategies of rhetoric that have evolved in the realm of digital media, exposed to constant change due to the hybridization of technology and the act of creation. In this hybrid territory of what is now termed the contemporary “cinema of the real”, we thus find tags of new tendencies and formats (from the “mockumentary” to the expanded documentary, among others, leading to the latest genre to be consolidated up to now, the interactive documentary) with a wide range of formal procedures and rhetorical strategies that articulate a huge wave of astonishing creative freedom, all serving to constitute new aesthetics that manage to reshape the documentary devices of representation and narrative in a way that is both diverse and suggestive. In this context, whose most important features and formats will be the object of a detailed taxonomy, we will see the emergence of transmedia narrative linked to reality, to the documentary, with its storytelling strategy expanding into different medias and platforms. After establishing the conceptualizations associated with transmedia narrative, an analysis is undertaken of how it operates in the area of movie production as well as in the area of documentary production, in order to establish the principles that make up this reality in a permanent state of construction, both by the consumer and by the means and methods of production.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Entre o jornalismo e o ativismo Nogueira, Patricia; Da Fonte, Yone Sales
Media & jornalismo : revista do Centro de Investigação Media e Jornalismo,
06/2021, Volume:
21, Issue:
38
Magazine Article, Journal Article
Open access
Este artigo explora a fronteira entre jornalismo e ativismo através da análise de dois documentários interativos focados na representação da violência de género: Mujeres en Venta (2014), que denuncia ...o tráfico de mulheres para fins de exploração sexual, e Artigo 170 (2019), focado em testemunhos de mulheres vítimas de assédio sexual em diversos contextos. A partir da análise de conteúdo dos documentários, à luz das funções da linguagem formuladas por Jakobson, argumentamos que o documentário interativo, baseado na herança das práticas documentais mais ativistas, funciona como um dispositivo estruturador da denúncia de questões de género e proporciona um encontro afetivo multifacetado com uma variedade e riqueza de testemunhos afetuosamente poderosos. Esta forma de representação de causas sociais, de acordo com esta investigação, atenua as fronteiras entre jornalismo e ativismo social e coloca em causa a isenção jornalística mas potencia o envolvimento e mobilização afetivas do público.
Provider: - Institution: - Data provided by Europeana Collections- ES El siguiente trabajo plantea el análisis y la comparación de 3 documentales interactivos desde la perspectiva de la ...interactividad en el medio audiovisual. La interactividad permite al usuario pasar de ser un mero observador a formar parte de lo que está viendo; una comunicación bidireccional entre el vídeo y el espectador. No se puede encontrar una definición concreta para el vídeo interactivo, pero se puede entender el significado a través de sus características y diferencias con el vídeo lineal. Este trabajo de final de grado busca el acercamiento a estos nuevos términos. En este proyecto se muestra la facilidad de creación de estos nuevos formatos gracias a las numerosas y nuevas herramientas que han ido surgiendo en los últimos años. Herramientas con una interfaz sencilla e intuitiva que permite transformar vídeos lineales en otros con interactividad. Mediante el estudio de los documentales se obtendrá la estructura de cada uno de ellos y se aproximará al potencial de estas nuevas maneras de producción audiovisual interactiva.- EN The following work encompasses the analysis and comparision of several interactive documentaries from the point of view of interactivity in audiovisual. Interactivity allows users to go from being just observers to be involved in what they see, to be part of the story: a two-way communication between the video and its audience. We cannot find a particular definition for interactive video, but it is possible to understand its meaning though its features and differences with the lineal video. This final project aims to give the reader an approach to these new terms through the two concepts it is made of: interactivity and digital video. The following project shows the ease to create these new formats thanks both to code and many new tools that have arisen in the last few years. Tools with simple user-friendly interfaces that allow to transform lineal videos into interactive videos. By studying the documentaries we will get the structure of each of them and we will get close to the possibilities of this new ways of interactive audiovisual production.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Interactive documentary (i-docs), an innovative hybrid form at the intersection of film, journalism, and digital games, has matured beyond its first wave of experimentation, gaining distinction among ...the most highly evolved immersive media of the twenty-first century. The latest generation of i-docs is currently winning accolades at both major film festivals and game design summits. This study charts the evolutionary trajectory of North America’s most recent and influential wave of i-docs in works mostly appearing since 2015. It culturally situates i-docs as immersive media that extend experimentation with narrative journalism into the realm of fine art and social activism. Building on the foundation of activist, highly empathic news experiences established in the early 2010s, the most recent advances in i-docs range from live action VR to animated digital games. Such works include the Canadian National Film Board’s 2018 AR (augmented reality) experience East of the Rockies, Occupied’s 2019 Cannes entry The Holy City VR, Roger Ross Williams’ 2019 Tribeca debut Traveling While Black, and iNK Stories Verité VR Series’ 2017 Blindfold and Hero, winner of the prestigious Storyscapes Award at Tribeca in 2018. The vanguard of i-docs has expanded collaboration between film, news, and digital game industries to provide new forms of citizen engagement through advocacy journalism aimed at social and political change. Through the use of John Pavlik’s (2019) critical framework for understanding immersive journalism, this article examines the texts, producers, and industrial contexts of the most recent and influential North American i-docs, as one branch of the form defined by Gaudenzi, Aston, and Rose. Principles of transparency, social responsibility, and a commitment to veracity in i-docs epitomize the esthetic and political potential of digital journalism as an empathic alternative to traditional news coverage.
The evolutionary trajectory of digital journalism has been fuelled by the convergence of visual storytelling unique to documentary filmmaking with the graphics and procedural rhetoric of digital ...games. The reciprocal influences between gaming and documentary forms coalesce in this new
highly engaging interactive journalism. This research demonstrates how game mechanics, design and logics combine with cinematic storytelling conventions in documentary games published since 2014. As forms of civic engagement more intimate and immersive than traditional print and broadcast
journalism, documentary games leverage alternative depictions of violence for social critique. Case studies examine products of independent developers including the documentary games We Are Chicago by Culture Shock Games and iNK Stories' 1979 Revolution: Black Friday along
with its related vérité virtual reality experience, Blindfold. These cases represent major advances in the activist depiction of oppressed populations in narrative documentary journalism. All these projects feature atypical video game protagonists anathema to those of
mainstream games.
Esta investigación presenta el maridaje entre i-docs y la política como una oportunidad para motivar la participación ciudadana en la esfera política. El principal objetivo de este estudio es ...identificar los grados de participación ciudadana que permiten los i-docs y establecer una clasificación según esos niveles de implicación cívica. Para ello, esta investigación ha analizado un conjunto de documentales utilizando la metodología propuesta por Gaudenzi, Gifreu-Castells y Nash. Los resultados muestran que existe un paralelismo entre el modelo cerrado y el paradigma orwelliano; el modelo semi-cerrado y el paradigma de la cortina de humo o Tokenism; el modelo semi-abierto y el paradigma solaz y entre el modelo abierto y el paradigma ateniense. Sin embargo, sólo el modelo abierto, como ocurre en el documental Global lives, ofrece una experiencia real que simboliza la más pura representación de la filosofía del gobierno abierto u open government.
This article offers an ethnographic exploration of the world of interactive documentaries (i-docs), suggesting how such a scrutiny opens up a new scenario for visual culture – one where the study of ...the visual field needs to be backed up with an increasing awareness of digital culture, interactivity and the functioning of Web 2.0. Incorporating the languages that dominate communication on social networks and image sharing platforms, i-docs are a window onto the changing meaning of images in the context of contemporary digital technologies. In such products, a variety of different kinds of materials (such as videos, photos, sounds, texts, etc.) converge, forcing us to rethink the very meaning of image beyond the field of vision. Fostering new forms of interpretation and exploration of audio-visual materials, these projects also generate new connections between life online and life offline. Informed by the principles of participation, sharing and relationality that inform contemporary social networks, i-docs seem to invite us to engage with the physicality and socialness of everyday life, in other words, to get our hands dirty (again).
Moving Between Screens Soulez, Guillaume
A Companion to Contemporary French Cinema,
11/2014
Book Chapter
Relations between cinema and television in France in recent years have been closely tied to the development of each of these media in its own field. With successful blockbusters, the new digital era, ...and the Internet on one hand, and the development of private networks, aging audiences, and the success of new‐style American series on the other, film and television have been looking for ways of forming an alliance by sharing professionals and audiences, or by seeking new forms involving collaboration. This chapter explores the role of the cultural channel Arte in the re‐launching of “auteur” cinema, as well as the exchange both ways between television and cinema of comic stars from and to the small screen, and also productions of fiction that aim to achieve a certain hybridization of the two media. Whereas at the end of the 1980s it was feared that television would have a disastrous influence on the cinema to come, this chapter suggests a more qualified assessment of the years 1990–2010.
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