Web Documentary

Universidad de Granada ORCID iD: mariodelatorre@ugr.es RESUMEN: Este trabajo parte de la concepción de la narrativa transmedia por parte de Henry Jenkins como el arte de making worlds, de construir mundos de ficción, para extender los fun-damentos teóricos de esta definición al género documental. Si Bill Nichols indica que este género de no ficción tiene per se un gran poder persuasivo-por la naturaleza icónica de sus imáge-nes y sonidos y por el efecto psicológico de verosimilitud que suscita en el público-, aquí defendemos que este carácter se potencia por medio de la narrativa transmedia. La inmersión, la extrabilidad y la performatividad de este tipo de narrativa lleva a la participación activa del usuario en el mundo transmedia, que coincide con su propio mundo, el real. Por esa razón nu-merosos proyectos activistas han visto en el documental trans-media una oportunidad tanto para el ejercicio del pensamiento crítico como para el cambio social. ABSTRACT: This article discusses Henry Jenkin's concept of transmedia as the art of making worlds, in reference to the building of fictional worlds, to theoretically expand on this definition for the documentary genre. If Bill Nichols stated that non-fiction genre has a great persuasive power-because of the indexical nature of its images and sounds, and the psychological effect of verosimility created in the audience-we defend the idea that this character is increased through the transmedia storytelling. The immersion, extrability and performativity of this kind of narrative form lead to an active user role in the transmedia world, that coincides with his own world, the real one. That is why numerous activist projects have used the transmedia documentary as an opportunity for critical thinking and social change.

Le opportunità di ri-mediazione e di documentazione dell’arte contemporanea offerte dai media digitali hanno inaugurato testualità innovative, connotate da elementi interattivi, multimediali e partecipativi, che destabilizzano i processi di semantizzazione del museo tradizionale e aggiungono livelli testuali, frutto di un lavoro interpretativo.
In particolare, il contributo intende esplorare tali forme di documentazione a partire dall’esperienza del laboratorio dell’Università degli Studi di Torino «Carmel. Media digitali per l’arte contemporanea» che ha portato alla creazione del web-doc «Il giardino delle sculture fluide di Giuseppe Penone», un’esplorazione interattiva e immersiva dell’omonima opera sita nei giardini della Venaria Reale.
Si andrà quindi ad analizzare il ruolo comunicativo dello spazio e dei processi espositivi attuati dal medium digitale, declinando il concetto di interfaccia e di «iper-immagine», alla luce di un’ormai consolidata funzione frammentante e modularizzante del dispositivo digitale, riscontrabile negli esempi analoghi prodotti da Google e dalle più innovative istituzioni museali di arte contemporanea. E, parallelamente, sarà esplicitata la rilevanza di significato che un prodotto creato da un soggetto accademico porta inevitabilmente con sé, proponendosi infine come un’opportunità di business nell’ambito della produzione di edu-tainment.

Abstract
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.

Web 2.0 and social media have opened a new collaborative trend in interactive documentaries. The current assumption seems to be that if people send content to a factual website than the result is a collaborative documentary. This chapter challenges the simplistic assumption that “participation” is equal to User Generated Content (UGC). It starts by questioning what UGC is, where the term comes from, and what the implications are of such forms of collaboration in the context of interactive documentary praxis. It is claimed that UGC is just one way to participate in an interactive documentary, and that a variety of other options are possible, and are being explored (for example by Katerina Cizek in Highrise and by David Harris in Global Lives).
It is also argued that UGC influences the database of the documentary, but not its structural form. In the last five years, a variety of documentary projects have experimented ways of involving users in content production: The Johnny Cash Project, Mapping Main Street, 6 Billion Others, Man with a Movie Camera: Global Remake,  Life in a Day, One Day on Earth etc… are all projects that ask users to participate by adding photos, audio, text or video content. What those projects do not do is to extend collaboration to levels of collective governance that could change the interactive framework that defines the project itself. The political consequence of such emphasis on UGC is the assumption that the individual has a voice but should not have control on how it is used. Using content sent by people that have no control on how such material is finally used, like in the case of One Day on Earth, is potentially antithetic to the rhetoric of openness and democratic expression behind the participative culture movement.
Depending on the “type of collaboration” demanded (user-testing ideas, crowdsourcing research material and content, commenting, editing existing footage, translating subtitles etc…), “who” is invited to participate (the people being portrayed in the documentary or the audience/users) and the “phase” that is influenced by such participation (pre-production, production and/or post-production) the participative documentary acquires a different form. There is no such thing as a typical or standard, participative documentary – there are logics and levels of participation that can be used in documentary production.
The chapter ends by suggesting to analyse strategies of collaborations through three main questions: Who is invited to collaborate? When is this collaboration happening? And what is the participant allowed/empowered to do?

El propósito de este trabajo de investigación es el estudio del proceso actual de convergencia entre el género documental tradicional y el género documental interactivo en línea. Pretendemos examinar cómo las nuevas tecnologías digitales transforman las lógicas de creación y de producción del documental audiovisual convencional. Queremos presentar un primer estado de la cuestión sobre las líneas de confluencia entre los dos ámbitos, argumentar una propuesta de definición y de caracterización del nuevo género interactivo y avanzar unas propuestas de modelo de análisis del documental interactivo, que será objeto de cimentación y de aplicación en la futura tesis doctoral.

Recommended citation: Gifreu-Castells, A. (2010). “El documental multimèdia interactiu. Per una proposta de model d’anàlisi”. Universitat Pompeu Fabra. Departament de Comunicació.

---------------- ABSTRACT ENG:

The purpose of this research study is to consider the ongoing process of convergence between the traditional documentary genre and the online interactive documentary genre. We will examine how new digital technologies are transforming the logics of creation and production of the conventional audiovisual documentary. We present an initial overview of the areas of convergence between the two areas, suggest a proposed definition and characterization of the new interactive genre, and discuss proposals for an analysis model of the interactive multimedia documentary, which will be the basis for the future doctoral thesis and will be applied therein.

This paper examines the endeavour to identify fundamental characteristics of all documentary work regardless of the form it takes. Each chapter of this paper describes a different step in the evolution of research project to documentary installation work and is chronologically organized to reflect this process. This paper not only sets forth fundamental requirements of a documentary work as supported by various scholarship on a multitude of documentary forms, but also outlines the process of translating the fundamental requirements and relative supporting scholarship into a physical documentary installation work.

In den letzten Jahren sind auf Plattformen der sozialen Medien und insbesondere durch sogenannte InfluencerInnen neuartige Formen der öffentlichen Selbstdokumentation populär geworden, die einen eigenen medienkulturellen Mikrokosmos bilden. Auch wenn YouTube Sinnbild dieser Kulturtechnik geworden ist, sind mediale Selbstentwürfe auch für andere Dienste wie Instagram, TikTok oder Snapchat prägend.
Robert Dörre begreift die Entstehung dieser Selbstentwürfe als ästhetische Praktik und geht den medienhistorischen Verschiebungen nach, die die öffentliche Selbstdokumentation im Internet erfahren hat.
Um diese spezifischen Ästhetiken, Rituale, Motive und Ökonomien medienkulturwissenschaftlich zugänglich zu machen, nähert sich die Arbeit dem Phänomen aus fünf Perspektiven: Der Rezeption als authentischem Selbst, dem Selbst als Teil der sozialen Medien, dem Selbst als Marke, dem seriellen Selbst und dem Selbst als AmateurIn und KünstlerIn.

This entry provides an outline of the historical development of documentary, the theoretical debates regarding its generic identity as the art of the real, as well as future directions for research. In tracing the major traditions and forms of documentary filmmaking, including the controversial format of the docudrama, special attention is paid to its constant reinvention from the film to video and finally the digital age, as well as its complex interactions with journalism. Throughout its evolution, documentary emerges as a critical pillar of the modern public sphere, inextricably tied to the major social, cultural and political experiences and transformations of contemporary societies.

The central area of research for this thesis concerns the most effective techniques for practitioners developing and delivering facilitated participatory media projects for the internet within an institutional setting.
Through the development and delivery of a web-based, participatory documentary Big Stories, Small Towns, this study explored the complexity of relationships that underlie media participation within public screen institutions such as national broadcasters and screen culture agencies. This involves key principles of trust, power, motivation, access and agency to assist practitioners in managing participatory processes in media practice.
The project’s main public presentation can be viewed online at www.bigstories.com.au.
This exegesis examines a tradition of documentary production underpinned by participatory practices. The exegesis examines methodologies informed by theories of critical practice to discuss the Big Stories project in the context of the wider literature drawn from media studies, communication for development, visual anthropology and cultural studies. The study explores participatory media activity and identifies examples that have influenced the Big Stories project.

Recommended citation: Gifreu-Castells, A. (2010). “El documental interactivo. Una propuesta de modelo de análisis”. Universitat Pompeu Fabra. Departament de Comunicació.

---------------- ABSTRACT ESP:  El propósito de este trabajo de investigación es el estudio del proceso actual de convergencia entre el género documental tradicional y el género documental interactivo en línea. Pretendemos examinar cómo las nuevas tecnologías digitales transforman las lógicas de creación y de producción del documental audiovisual convencional. Queremos presentar un primer estado de la cuestión sobre las líneas de confluencia entre los dos ámbitos, argumentar una propuesta de definición y de caracterización del nuevo género interactivo y avanzar unas propuestas de modelo de análisis del documental interactivo, que será objeto de cimentación y de aplicación en la futura tesis doctoral.

-----------------  QUALIFICACIÓN Y PREMIOS:

- Suma Cum Laude en la defensa del trabajo de investigación “El documental multimèdia interactiu. Una proposta de model d’anàlisi” (2010).

- Mención especial del jurado sobre el trabajo de investigación “El documental multimedia interactiu. Una proposta de model d’anàlisi” en relación con el veredicto de los XXV premios CAC a la investigación sobre comunicación audiovisual (2011).

Recommended citation: Gifreu, Arnau (2011). “The Interactive Documentary. Definition Proposal and Basic Features of the New Emerging Genre”. McLuhan Galaxy Conference. Conference Proceedings, ISBN: [ISBN 978-84-938802-1-7]

---------------- ABSTRACT ENG: 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 definition proposal for the new emerging genre, the so-called “interactive documentary”, is argued, compared with the logic 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.

La presente investigación busca analizar a través de la antropología visual cómo funcionan las nociones de autoría y colaboración en la producción de documentales interactivos colaborativos. Ya que a diferencia del documental tradicional donde la ruta es preestablecida por el director, la participación del usuario se convierte en el elemento clave que articula todo el sistema. Por tanto, los límites de la autoría y de control sobre el discurso no están claramente delimitados. Para ello me focalizaré en tres actores que se movilizan los unos a los otros, creando un entramado complejo de relaciones: el autor, los sujetos representados y los usuarios. Por medio de estas figuras busco llegar a entender si es posible hablar de autorías compartidas en el documental interactivo y los niveles en los que puede operar.

Περίληψη

Τα τελευταία χρόνια οι διαδικτυακές εφαρμογές γίνονται όλο και πιο γνωστές στον σύγχρονο κόσμο. Πλέον συναντάμε συχνά διαδραστικούς ιστότοπους κατά την πλοήγηση μας στο διαδίκτυο. Η παρούσα εργασία στοχεύει στην ανάπτυξη μιας μορφής διαδραστικού ιστότοπου με τη δημιουργία διαδικτυακής εφαρμογής για το ντοκιμανέρ “Το έθιμο των φωτιών στη Φλώρινα”. Σκοπός είναι η ανάδειξη των νέων τεχνολογιών και της ιδιαιτερότητας που προσφέρει μια διαδικτυακή εφαρμογή σε σύγκριση με το απλό κλασικό οπτικοακουστικό ντοκιμαντέρ. Τα διαδραστικά ντοκιμαντέρ είναι λίγα ακόμα ωστόσο αυτή η μορφή τέχνης βρίσκεται ακόμα σε αρχικό στάδιο και έχει πολλά να προσφέρει μελλοντικά.

Abstract
In recent years, web applications have become increasingly popular in the modern world. We often come across interactive websites while browsing the internet. This project aims to develop an interactive web site by creating an online application for the documentary "The Fireside in Florina". The aim is to showcase the new technologies and specialties that an online application offers compared to the simple classic audiovisual documentary. Interactive documentaries are still few but this art form is still in its infancy and has much to offer in the future.

"Serious games for learning, used in the professional world, link both game and work practices. This issue concerns designers as well as training managers and human resources managers, all interested in transferring and evaluating professional skills. But serious games, simulating interpersonal relationships through notions of fiction, immersion, realism or referentiality, are also reactivating some problems encountered by documentary films.

Thesis defended: This thesis suggests that the theory and practice of documentary cinema can serve the educational intent of the designer of serious game to facilitate the acquisition of new skills by the user.

Objectives: On the cognitive level, the purpose is to explore the learning related to confrontation of viewpoints (socio- cognitive conflict) through serious game on a single-player mode. The associated communicative purpose is to explain the construction of an interlocutor, a fictitious or a real one, who is able to oppose his point of view to the user. In order to meet these objectives, the sociocultural and historical processes of documentary filmmaking will advise different discursive and relational forms of the serious game.

Method: 4 configurations of the same serious game EHPADSG were tested in a quasi-experimental plan over a period of 5 months, with 250 users from 10 medical institutions. Our investigation is based on self-administered questionnaires and on an activity tracking system. To the statistical treatment arisen from the investigation, 5 focus groups, 3 individual interviews and observational reports are added.

Main results: First, a series of theoretical transpositions supports the analogy between serious games and documentary filmmaking. On the empirical side, our investigation confirms this analogy by pointing out that the use of serious games in a professional context is favorable to engage a documentarizing reading. Second, the comparison between the 4 configurations of the game EHPAGSG demonstrates the significant influence of two narrative figures (mise en abyme and metalepsis) on the increase of "documentarity" and viewpoints confrontation. Finally, our research leads to a "narrato-cognitive grammar" allowing designers to move from a documented to a documentary writing: the targeted competency is no longer confined to fiction but extended by reflexivity to the real enunciators."

"Working digitally allows the ‘conventional’ documentary narrative form to shift from temporal to spatial, from horizontal to vertical, from sequential to concurrent. Digitality also provides interactivity. With interactivity comes a potentially spontaneous, engaged and active audience able to choose how they receive the content. Yet, documentaries need to convey critical pieces of their narrative for their story to be comprehensible to their audience. The critical question for documentary makers, then, is how to incorporate these new digital technologies, with their potential for innovative narrative structures, and still make a factual story understandable to their audience.

Identifying the Internet as the primary site that has opened up space for digital storytelling Lundby (2008, 3) says"
"(The Internet) offered new options to share the ‘classical’ small-scale stories created in story circles at various corners of the globe. The World Wide Web also gave rise to new forms, Blogging, in text only or with video, as well as the social networking sites on the web offer new opportunities to share short personal stories".

Examples of these online story spaces will be explored in this paper, along with early televisional forms, computer specific forms, gallery specific forms and performative forms. This selection of work illustrates the experimentation with digital form that Manovich in The Language of New Media (2001) terms ‘database narrative’ and Hayles (2005, 1-35) calls ‘possibility space’. Both terms help to define the territory in which the form of documentary is shape-shifting as a result of the revolution in digital technology."

Mindanao is the Philippine's second largest island in the south. Identifying Mindanao-based documentaries that have development themes remain unknown or unacknowledged. Using Phenomenology as theoretical framework and method, as a result, the researcher found out that similar to other documentary films in other parts of the country and the world, the themes showed by Mindanao-based documentaries reflect  in agriculture, health, women and children, environment and population.
However unlike its other foreign and local counterparts, a number of Mindanao-based documentaries anchor the mentioned development themes under the context of peace and conflict situation, human rights, indigenous peoples and their ancestral domains.

In a post-1990 context of unrivalled creativity in documentary filmmaking, what does ‘independence’ really mean? With a broad selection of contributors, this is the first collection of in-depth case studies to cut across different media, formats, subject matters, purposes and national divides. Writing from a wide range of academic perspectives, contributors shed new light on historical, theoretical and empirical issues concerning independent documentary, to better comprehend the radical transformations of the form over the past twenty-five years.

While the digital turn has been widely acknowledged as decisive in reshaping film practices, especially independent ones, this anthology aims at assessing its consequences without overestimating the impact of technology on other political, economic, social and cultural changes. Continuities as well as breaks are therefore put in perspective, with a particular focus on the interactions between these new practices and the established film and television industries.

Divided into three main sections on ‘History and Spaces of Resistance’, ‘The Personal Experience’ and ‘Displacement, Participation and Spectatorship’, Post-1990 Documentary: Reconfiguring Independence provides an innovative interpretation of under-studied subject matters and styles, and rare analysis of differing production, distribution and exhibition strategies. It not only helps to rethink the notion of independence, but also contributes to a fundamental change in our perception of documentary filmmaking.

El presente artículo es un análisis multimodal de dos documentales web o webdocumentales de la artista americana, Sharon Daniel: Blood Sugar (2010) y Public Secrets (2007). A través de estas dos piezas, con una materialización audiovisual e interactiva particular, demostraremos cómo, a través de las interacciones de elementos, los documentales son capaces de generar una experiencia inmersiva y emocional, al tiempo que también logran presentar una perspectiva política y de construcción de una comunidad crítica sobre los temas de justicia social, encarcelamiento y marginación. Para evidenciar cómo los componentes visuales son un elemento primario para el planteamiento estético y político de los sitios web, utilizaremos el modelo de análisis multimodal de Luc Pauwels. Al final, mostraremos cómo el componente plástico y tipográfico de la propuesta visual de los documentales, herencia de la tradición experimental y de documental de arte, logran reducir la obsesión realista del documental político que usa la entrevista como mecanismo predilecto para recolectar evidencia visible de un testimonio.

This contribution sets out to aid a better understanding of the types and rules of participation that, as Jenkins (2006, p. 3) states, "none of us fully understand"-yet! Focusing on the context of interactive documentary, this chapter explores the different subprojects of the Highrise series, a "multi-and transmedia collaborative documentary experiment" (Cizek, 2012) about what life in high-rise buildings is like. Before the medium of documentary series is explored in depth, a short characterization of the main parts of Highrise will be provided, the scope of this chapter will be set and some central concepts will be clarified. Namely, these include the notion of "documentary" and "participation" as used in this chapter and their role in the context of strategies and procedures in legitimiz-ing discourses-at both the content level of documentary configurations and the meta-level of documentary practices. 'The Towers of the World and the World of Towers'-The Highrise Series As artist-in-residence at the National Film Board of Canada, in her project for the Challenge for Change Programme documentary, filmmaker Katerina Cizek modifies strategies from interventionist filmmaking and combines them with the logics of the so-called Web 2.0, open-space movement and social networking-online and offline. Launched in 2009, the Highrise series comprises six major digital audiovisual subprojects from local to global in scale, playing with different forms of interaction, participation and co-creation. Apart from the six main audiovisual projects analyzed in this contribution, Highrise has generated a total of more than 20 distinct subprojects, including mobile productions, live presentations, various activities on Flickr, performances, installations, exhibitions,

Recommended citation: Gifreu-Castells, A. (2010). “El documental multimèdia interactiu. Per una proposta de model d’anàlisi”. Universitat Pompeu Fabra. Departament de Comunicació.

---------------- ABSTRACT ENG: The purpose of this research study is to consider the ongoing process of convergence between the traditional documentary genre and the online interactive documentary genre. We will examine how new digital technologies are transforming the logics of creation and production of the conventional audiovisual documentary. We present an initial overview of the areas of convergence between the two areas, suggest a proposed definition and characterization of the new interactive genre, and discuss proposals for an analysis model of the interactive multimedia documentary, which will be the basis for the future doctoral thesis and will be applied therein.

New media documentary films ensure interaction between film and viewers by offering some options during the film process. Furthermore, they have several differences from the traditional documentary filmmaking. In this study, the relationship and interaction between new media documentary films and viewers were discussed. The films were produced based on the new media documentary film understanding used in the survey. The ways the new media documentary films provide interaction in the film process and reactions of viewers towards new media documentary films were scrutinized in this study. The sample group consisted of two hundred viewers and their reactions were analyzed after they watched new media documentary films in this survey. This study aimed to describe these reactions and comprehension of new media documentary films. Viewers faced a novel documentary language and reacted differently hence their reactions were defined based on this factor.  It is critical to tender a description of this point because it gives clues about the perspectives of today’s viewers and future viewers.
Key Words: New Media Documentary, Interaction, Viewer

Recommended citation: Gifreu-Castells, A. (2010). “El documental multimèdia interactiu. Per una proposta de model d’anàlisi”. Universitat Pompeu Fabra. Departament de Comunicació.

---------------- ABSTRACT ENG: The purpose of this research study is to consider the ongoing process of convergence between the traditional documentary genre and the online interactive documentary genre. We will examine how new digital technologies are transforming the logics of creation and production of the conventional audiovisual documentary. We present an initial overview of the areas of convergence between the two areas, suggest a proposed definition and characterization of the new interactive genre, and discuss proposals for an analysis model of the interactive multimedia documentary, which will be the basis for the future doctoral thesis and will be applied therein.

The current development of multimedia nonlinear narratives has led to an exponential increase in content production interactive documentaries that try to explore the expressive potential of digital tools. Among the projects avanlache conducted with quite divergent results, it is necessary to notice some definition complex communicative artifacts, better known as webdocumentarys or interactive multimedia documentary, which combines elements from both hypertext narratives, on the one hand such as documentary films, on the other. The rhetoric of these new interactive
products storytelling intends characterized by a growing and
increasingly developed relationship with the user, which assigns a new place in the construction of meaning. Hybridization of formats and media starts the way for a political metalinguistic consideration in this new audiovisual form, which often finds its way outside the industry, is produced independently and is for those viewers willing to undertake a narrative experience active.

Digital media make possible to move from a conventional storytelling medium to other avenues that allow open stories to be told, maintaining the traditional basis of narratives while also adding other elements that enrich and deepen storytelling innovation. Therefore, it is important to analyze how the characteristics of digital storytelling work together in order to create meaning through new narratives. Recent documentary projects show how new ways of telling stories involve new ways of relating meaning and form, multiple platforms, and strong interaction and engagement from the side of the viewer. Interactivity and participation change the way in which a story is told and received, thus changing its nature as a narrative.

In order to delve deeper into this field, I will analyze Highrise. The Towers in the World. World in the Towers, by Katerina Cizek. This is a complex project produced by the National Film Board of Canada, a multi-year, many-media collaborative documentary experiment that has generated many projects, including mixed media, interactive documentaries, mobile productions, live presentations, installations and films. I will develop a textual analysis on part of the project, the interactive documentary Out My Window, by focusing on its ways of meaning making and the specific narrative implications of the relationship meaning-form.

The project is ambitious: Cizek’s vision is “to see how the documentary process can drive and participate in social innovation rather than just to document it; and to help re-invent what it means to be an urban species in the 21st century.” (http://highrise.nfb.ca).

Webdocs are facilitating the appearance of documentary projects in which the interaction and participation of all the partners implied-authors, community and audience-generate a shared space of documentation which in turn become part of a collective memory. In these projects, the authors articulate the dialog with and among such communities with digital and transmedia communication strategies, in which social networks play a central role. In this paper the results about the participation and transmedia strategies on i-docs are presented. Research is based on a triangulation of methods using study of literature, analysis of 3 case studies and interviews with the i-docs authors and producers. We argue that these projects present the following key characteristics: ability to adapt to each specific context, a main goal is to transcend the digital space and positively affect the participant communities, but also the difficulties to find a role and space within the larger media context.

Web-based documentaries (web-docs) and interactive documentaries (i-docs) represent an innovative form of multimedia research and communication, consisting of a combination of multiple media such as videos, images, audios and texts within a unique, open and freely accessible web-platform. They are based on interactivity, trans-mediality and non-linearity; they do not impose a specific author’s perspective on the observed reality but allow visitors to explore the different media, voices and sources collected within the documentary and interact with them, developing their personal interpretation and points of view. Therefore, i-docs may become a resource for geographical education and research. Within the educational field, multimedia actually facilitates the individualization and personalization of training, stimulates discovery, interaction and problem solving, and favours an active approach to learning. As regards the research, multimedia may integrate the conventional tools during the fieldwork and offer new resources for the description and narration of the space, as well as a more effective circulation of the results. Starting from these broader reflections, the paper focuses on the particular case of the web-research “Al centro di Tunisi – Au centre de Tunis”, a multimedia experimental project upon the practice of the public space in Tunis two years after the Jasmine Revolution of 2011. Through the description of the project from the theoretical and methodological point of view, the paper ends by suggesting some possible applications of the web-research in geographical education and didactics.

Recommended citation: Gifreu-Castells, A. (2010). “El documental multimèdia interactiu. Per una proposta de model d’anàlisi”. Universitat Pompeu Fabra. Departament de Comunicació.

---------------- ABSTRACT ENG: The purpose of this research study is to consider the ongoing process of convergence between the traditional documentary genre and the online interactive documentary genre. We will examine how new digital technologies are transforming the logics of creation and production of the conventional audiovisual documentary. We present an initial overview of the areas of convergence between the two areas, suggest a proposed definition and characterization of the new interactive genre, and discuss proposals for an analysis model of the interactive multimedia documentary, which will be the basis for the future doctoral thesis and will be applied therein.

Il libro esplora le potenzialità del genere web-documentary, una nuova forma di audio-visivo che si sta rapidamente diffondendo sul web, come nuovo strumento di comunicazione della scienza, sia come tipologia di formato, sia a livello di possibile collocazione sul mercato italiano. Diversi i metodi di indagine adottati: lo studio di due casi - due web-doc di argomento scientifico, Profiles from the Arctic, su ricerche di scienze dure attualmente in corso nell’Artico, e Becoming Human, sulla storia della specie umana - sia attraverso un’analisi descrittiva, secondo determinate categorie, che osservando la navigazione dei due web-doc da parte di un gruppo di “testimoni privilegiati”; e interviste mirate a diversi stakeholder: responsabili di case editrici scolastiche, capi-redattori di riviste scientifiche e capi uffici stampa di istituzioni scientifiche internazionali. Tra i risultati ottenuti, alcune ipotesi sui possibili sviluppi del web-doc scientifico in Italia e una serie di regole per progettare web-doc in modo efficace.

Kat Cizek was recruited by the National Film Board of Canada in 2004 as Filmmaker-
in-Residence, with a brief to reinvent the influential NFB project Challenge
for Change which, from 1967 to 1980, sought to put media to work for
social change by turning documentary subjects into collaborators.1
Since then Cizek has been experimenting with forms of interactive media
practice that are grounded in co-creation, collaborating with partners including
media-makers, academics, city planners, architects and – most importantly for
her – ‘the people formerly known as the subjects’.
From her first experiments at the NFB as Filmmaker-in-Residence to her multiyear,
multi-faceted Interactive Emmy award-winning documentary project, Highrise
(Cizek et al 2009–15), forms of collaboration have been at the heart of her
practice.
In a conversation with Mandy Rose, Kat Cizek explains the ethos which underpins
her work, and explores the potential and challenges of a co-creative approach.

In this paper, I will critically analyse ‘the creative resistance’ in the Gezi Protests. I start with a basic assumption that declares and accepts the Gezi Resistance as ‘creative’. The Gezi Resistance has utilised new modes of expression and created new forms of social struggle. In Turkey, this is totally a new situation in social movements and points out a new potential for constituting a society on the basis of equality and freedom.

The adaptation of new infrastructure in the media industry, as well as the evolution of Web 2.0 and beyond, has decisively altered the ways of producing and consuming audiovisual content. The forthcoming generation of viewers are the post-millennials who have been born and raised within a digital world with completely different consumption patterns when compared to the previous generations. This comparative study aims to explore and assess the transformations of audiovisual consumption practices within the current digital environment. Specifically, the research focuses on examining audiovisual consumption patterns on documentary viewing utilizing focus group method; Greece and Cyprus were selected as case study locations, due to their interconnected culture and origins. The results are presented in a dual level; initially the ways post-millennials of Greece and Cyprus consume web & traditional documentaries are examined. Moreover, the patterns of audiovisual content consumption, com...

The rise of non-linear multimedia narrative has led to an exponential increase in the production of audiovisual contents exploring the discursive potential associat- ed with the kind of contemporary visual consumption characterized by reticularity and media connectivity, transmediality, the possibility of interaction, geolocation, navigation, screens mobility, the fragmentation of audiences and the non-linear sto- rytelling. In this multiform context, a space has been open for certain independent transmedia projects who display their significant proposals as a way of questioning the mechanisms of representation, to carry beyond the discourse referentiality their creations, to propose an alternative framework to the hegemonic interpretation from which the interactor can build his own interpretation of the narrative universe. In this case, we will stop in the study and analysis of the project The undocumented (Marco Williams, 2013), whose main discursive strategy lies in the realization of the triple product: a transmedia documentary film supplementing the film narrative with an interactive multimedia application on line, The map of the undocumented, and critical videogame The migrant trail.

Documentary audio-visual formats have been changing their media-cultural identity ever since their first days. Momentarily, in the course of Convergence & Participatory Culture and the interplay of analog and digital media, a great variety of experimental documentary transmedia artifacts is emerging – new formats and genres, bringing along a multiplicity of new media practices. In this context, hybrid transmedia television-/web experiments such as the interactive, playful and often "playable" hypermedia format of interactive documentary respectively database documentary are one of the most fascinating phenomena.
Such interactive, participatory and sometimes even collaborative projects e.g. blur the boundaries between filmmaker/producer, the subjects (re-)presented and the viewer/lecteur-actant (Roger Odin) and question familiar notions of spectator- as well as authorship; transmedia experiences such as televised documentaries accompanied by synchronized tablet-applications play with common patterns of reception; and the most audacious productions even try to enlarge the spaces of knowledge to spaces of bodily experience, involving locative media devices.
But what does it exactly mean to interact and play with – and to experience! – new non-fictional formats?
In how far do "new screens" and screening practices alter our affective positioning towards "documentaries@play"?
And what are the decisive changes as to documentary modes of representation and "the language" of non-fictional audiovisual productions if audiences become co-creators?
With regard to this "documentary ensemble 3.0", one of the great challenges for analysis is to establish a convincing tool to tackle these emerging formats. A promising point of departure hereby presents Roger Odin's semio-pragmatic approach to audiovisual formats. 
The aim of this presentation is to revisit Odin's modes de lecture and to expand the spectrum of possible emotional and intellectual ways to relate towards non-fictional transmedia productions.

Recommended citation: Gifreu-Castells, A. (2010). “El documental multimèdia interactiu. Per una proposta de model d’anàlisi”. Universitat Pompeu Fabra. Departament de Comunicació.

---------------- ABSTRACT ENG: The purpose of this research study is to consider the ongoing process of convergence between the traditional documentary genre and the online interactive documentary genre. We will examine how new digital technologies are transforming the logics of creation and production of the conventional audiovisual documentary. We present an initial overview of the areas of convergence between the two areas, suggest a proposed definition and characterization of the new interactive genre, and discuss proposals for an analysis model of the interactive multimedia documentary, which will be the basis for the future doctoral thesis and will be applied therein.

Il contributo affronta le relazioni instauratesi tra pratiche cinematografiche, audiovisive e performative di carattere documentario a partire dal film "Gesù è morto per i peccati degli altri" di Maria Arena e "San Berillo Web Serie Doc". Le due opere si inseriscono in un contesto di costruzione partecipata che coinvolge media, comunità, individui e impatti socio-culturali illuminando nuove pratiche estetiche, produttive e distributive.

"With an innovative use of interactive digital documentary "The Shoebox" examines the fragility of memory and our responses to personal tragedy and how these impact the construction of our personal and family histories.

"The Shoebox" explores memory and narrative from a past of loss and absence using a unique interactive architecture that mimics the process of autobiographical memory recall, a storytelling device called "memoradic narrative"."