Galloway, Dayna, Kenneth McAlpine,and Paul Harris, From Michael Moore to JFK Reloaded: Towards a working model of interactive documentary
(University of Abertay, Dundee)
Traditionally, documentary has been presented as an objective portrayal of fact: the actualité. Recently, a new breed of ‘dramatic’ documentary that uses coercion; persuasion, and emotional manipulation has emerged to critical and commercial success. Contemporaneously, interactive entertainment has evolved to the point at which near-realism can be portrayed in real time. This, taken alongside the immersive interaction in which the industry specialises, and the dramatic techniques of engagement employed by the latest documentary films suggests that we may be at the brink of a new cultural form: the interactive documentary. In this paper we discuss the form that interactive documentary might take, and the historical and cultural context into which it fits. We conclude by detailing the issues raised by the concept of the interactive documentary, and how the role of documentary maker as auteur is reconciled with the notion of a truly interactive pathway through such a production.
Almeida, Andre and Alvelos, Heitor , “An Interactive Documentary Manifesto ,” in Interactive Storytelling (part of series Lecture Notes in Computer Science ), Springer Berlin / Heidelberg : 2010
Abstract: In the last few years the word ”documentary” has been loosely used to describe multimedia pieces that incorporate video no matter its nature, technique, language or scope, taking advantage of the fuzzy and fragile boundaries of the documentary definition. The present manifesto aims to give a brief insight on the interactive documentary arena and also to sketch some production remarks for future interactive documentary productions.
Britain, C. (2009). Raising Reality to the Mythic on the Web: The Future of Interactive Documentary Film. North Carolina: Elon University.
Choi, I. (2009), "Interactive documentary: A production model for nonfiction multimedia narratives". Intelligent Technologies for Interactive Entertainment. Berlin: Springer, 44‐55. Whitelaw, M. (2002). "Playing Games with Reality: Only Fish Shall Visit and interactive documentary".Bunt, B. Halfeti: Only Fish Shall Visit
The Interactive Documentary. Definition Proposaland Basic Features of the New Emerging Genre. Arnau Gifreu Castells, Universitat de Vic, Spain, Presented at the McLuhan Gallery Conference
The purpose of this paper is to explore some topics regarding the convergence between the fields of the audiovisual documentary and the interactive documentary. A new defnition proposal for the new emerging genre, the so-called “interactive documentary”, is argued, compared with thelogic of creating and producing linear documentaries. A taxonomy of the main characteristics of the new genre is also established from three points of view:the director, the text and the interactor. At the end, some considerations about evolving perspectives of the new genre are presented.
In 2008, special issue of Studies in Documentary Film on digital documentary (Volume 2 Number 1) – available online: http://www.scribd.com/doc/18801968/Studies-in-Documentary-Film-Volume-2-Issue-1 Introduction: Hight, C. (2008), ‘The field of digital documentary: a challenge to documentary theorists’, Studies in Documentary Film 2: 1, pp. 3–7 Craig Hight discusses key patterns in the use of digital-based animation within primetime television documentary series, identifying three key animation ‘modes’ and the implications they pose to television documentary practice and aesthetics. Ohad Landesman explores the challenges that the aesthetic of digital video (DV) poses to discourses of documentary realism when used in cinematic hybrids such as Michael Winterbottom’s In This World(2002), Abbas Kiarostami’s Ten(2002) and Hany Abu-Assad’s Ford Transit(2002). Bjørn Sørenssen uses the short films of YouTube user ‘Geriatric1927’ as a key case study to discuss recent advances in amateur digital-based audio-visual production. He positions the explosion of online amateur videography within a historical perspective informed by Alexandre Astruc’s much earlier observations on the emergence of a consumer base for portable film technologies. Debra Beattie builds from her own experience as a digital practitioner, discussing the issues that arise from the use of Quicktime virtual reality reconstructions and non- linear narrative in the production of her 2003 online documentary The Wrong Crowd. Dale Hudson and Sharon Lin Tay offer complementary commentaries on digital pieces from the 2007 online exhibit ‘Undisclosed Recipients’.
Britain, C. (2009), Raising Reality to the Mythic on the Web: The Future of Interactive Documentary Film. North Carolina: Elon University.
Choi, I. (2009), “Interactive documentary: A production model for nonfiction multimedia narratives”. Intelligent Technologies for Interactive Entertainment. Berlin: Springer, pàgs 44‐55.
Galloway, D.; M calpine, K. B.; Harris, P. (2007), “From Michael Moore to JFK Reloaded: Towards a working model of interactive documentary”. Journal of Media Practice, 8(3), 325‐339.
SXSW Showcases Rise of Multiplatform Storytelling and Collaborative Filmmaking
by Nick Mendoza, March 25, 2011
http://www.pbs.org/mediashift/2011/03/sxsw-showcases-rise-of-multiplatform-storytelling-and-collaborative-filmmaking084.html
What’s up (and coming), doc?
Melanie Goodfellows, November 26, 2010
http://www.idfa.nl/industry/Festival/news/idfa-daily-2010/background2/26-11-10-transmedia-strategy.aspx
The i-doc as a relational object
Sandra Gaudenzi, September 8, 2011
http://i-docs.org/2011/09/08/the-i-doc-as-a-relational-object/
idoc with an “I” as “interactive”
Gerald Holubowicz, August 19, 2011http://i-docs.org/2011/08/19/idoc-with-an-“i”-as-“interactive”/
Manifesto for Interventionist Media
Katerina Cizek
http://www.nfb.ca/playlists/katerina_cizek/manifesto-interventionist-media-bec/
Social media influences documentary-makers
Meg Carter, June 5, 2011http://www.guardian.co.uk/film/2011/jun/06/social-media-documentary-makers
Galloway, Dayna, Kenneth McAlpine,and Paul Harris, From Michael Moore to JFK Reloaded: Towards a working model of interactive documentary
(University of Abertay, Dundee)Traditionally, documentary has been presented as an objective portrayal of fact: the actualité. Recently, a new breed of ‘dramatic’ documentary that uses coercion; persuasion, and emotional manipulation has emerged to critical and commercial success. Contemporaneously, interactive entertainment has evolved to the point at which near-realism can be portrayed in real time. This, taken alongside the immersive interaction in which the industry specialises, and the dramatic techniques of engagement employed by the latest documentary films suggests that we may be at the brink of a new cultural form: the interactive documentary. In this paper we discuss the form that interactive documentary might take, and the historical and cultural context into which it fits. We conclude by detailing the issues raised by the concept of the interactive documentary, and how the role of documentary maker as auteur is reconciled with the notion of a truly interactive pathway through such a production.
Almeida, Andre and Alvelos, Heitor , “An Interactive Documentary Manifesto ,” in Interactive Storytelling (part of series Lecture Notes in Computer Science ), Springer Berlin / Heidelberg : 2010
http://dx.doi.org/10.1007/978-3-642-16638-9_16
Abstract: In the last few years the word ”documentary” has been loosely used to describe multimedia pieces that incorporate video no matter its nature, technique, language or scope, taking advantage of the fuzzy and fragile boundaries of the documentary definition. The present manifesto aims to give a brief insight on the interactive documentary arena and also to sketch some production remarks for future interactive documentary productions.
Britain, C. (2009). Raising Reality to the Mythic on the Web: The Future of Interactive Documentary Film. North Carolina: Elon University.
Choi, I. (2009), "Interactive documentary: A production model for nonfiction multimedia narratives". Intelligent Technologies for Interactive Entertainment. Berlin: Springer, 44‐55.
Whitelaw, M. (2002). "Playing Games with Reality: Only Fish Shall Visit and interactive documentary".Bunt, B. Halfeti: Only Fish Shall Visit
The Interactive Documentary. Definition Proposaland Basic Features of the New Emerging Genre.
Arnau Gifreu Castells, Universitat de Vic, Spain, Presented at the McLuhan Gallery Conference
The purpose of this paper is to explore some topics regarding the convergence between the fields of the audiovisual documentary and the interactive documentary. A new defnition proposal for the new emerging genre, the so-called “interactive documentary”, is argued, compared with thelogic of creating and producing linear documentaries. A taxonomy of the main characteristics of the new genre is also established from three points of view:the director, the text and the interactor. At the end, some considerations about evolving perspectives of the new genre are presented.
http://es.scribd.com/doc/56597302/37/Arnau-Gifreu-Castells
In 2008, special issue of Studies in Documentary Film on digital documentary
(Volume 2 Number 1) – available online: http://www.scribd.com/doc/18801968/Studies-in-Documentary-Film-Volume-2-Issue-1
Introduction:
Hight, C. (2008), ‘The field of digital documentary: a challenge to documentary theorists’, Studies in Documentary Film 2: 1, pp. 3–7
Craig Hight discusses key patterns in the use of digital-based animation within primetime television documentary series, identifying three key animation ‘modes’ and the implications they pose to television documentary practice and aesthetics.
Ohad Landesman explores the challenges that the aesthetic of digital video (DV) poses to discourses of documentary realism when used in cinematic hybrids such as Michael Winterbottom’s In This World(2002), Abbas Kiarostami’s Ten(2002) and Hany Abu-Assad’s Ford Transit(2002).
Bjørn Sørenssen uses the short films of YouTube user ‘Geriatric1927’ as a key case study to discuss recent advances in amateur digital-based audio-visual production. He positions the explosion of online amateur videography within a historical perspective informed by Alexandre Astruc’s much earlier observations on the emergence of a consumer base for portable film technologies.
Debra Beattie builds from her own experience as a digital practitioner, discussing the issues that arise from the use of Quicktime virtual reality reconstructions and non- linear narrative in the production of her 2003 online documentary The Wrong Crowd.
Dale Hudson and Sharon Lin Tay offer complementary commentaries on digital pieces from the 2007 online exhibit ‘Undisclosed Recipients’.
Britain, C. (2009), Raising Reality to the Mythic on the Web: The Future of Interactive Documentary Film. North Carolina: Elon University.
Choi, I. (2009), “Interactive documentary: A production model for nonfiction multimedia narratives”. Intelligent Technologies for Interactive Entertainment. Berlin: Springer, pàgs 44‐55.
Galloway, D.; M calpine, K. B.; Harris, P. (2007), “From Michael Moore to JFK Reloaded: Towards a working model of interactive documentary”. Journal of Media Practice, 8(3), 325‐339.