Interactive documentary: setting the field

Interactive documentaries as a format in audiovisual media: A case study of RTVE and Al Jazeera

“…Sin embargo, el género implica también una «reorganización del discurso narrativo» (Rodríguez Fidalgo & Molpeceres Arnáiz, 2013), la toma de decisiones (O'Flynn, 2012) y el rol activo del usuario (Aston & Gaudenzi, 2012). Estos factores suponen cambios trascendentales en la propuesta del documental interactivo, donde el autor llega a perder parte del control para cederlo a un usuario más protagonista en su experiencia, bien sea a través de la participación activa con contenido generado por el usuario -una experiencia de la que es protagonista-o, en un nivel más bajo, por la interactividad selectiva en la navegación de los contenidos.…”

Target BACRIM: Blurring Fact and Fiction to Create an Interactive Documentary Game

“…Our principal intension is to transform the 'watcher' to 'user' and 'doer' [1]. This participation allows people to have a voice and to participate in the construction of reality [1], [4].…”

“…This participation allows people to have a voice and to participate in the construction of reality [1], [4]. This is a reality the user can own.…”

“…Indeed, as Aston and Gaudenzi note, 'the most interesting work in i-docs often arises when genre is transcended and boundaries are blurred' [1].…”

The real online: database documentary in the knowledge space

“…As a part of this process, documentary films, along with other forms of media, have become increasingly fractured and hybridised in the digital environment. Database/interactive documentary, webdocs or i-docs have proliferated in recent years and are recognised as an emergent media form (Hudson 2008;Odorico 2011;Aston and Gaudenzi 2012;Cohen 2012;Nash 2012), with a key difference between these documentaries and television or cinematic forms being that the online versions often appear as a database of discreet media items rather like an archive and through their interactive functions invite viewers into a partially collaborative relationship. A narrative of sorts can be navigated and rearranged according to the engagement of the viewer with the hypertext and the environment designed by the producer.…”