Masterclass "The interactive documentary" (TAMK, Tampere, Finlandia 2011)

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Text of Masterclass "The interactive documentary" (TAMK, Tampere, Finlandia 2011)

  • 1. Erasmus ExchangeTampere Applied Sciences University (TAMK, Finland)February 2011Arnau Gifreu Universitat Pompeu Fabra

2. Traditional Documentary + New Digital Technology = Interactive Documentary 3. - Presenting a first state of affairs on the linesof convergence between the two areas,- Arguing a proposed definition andcharacterization of a new interactive genre ,and- Working on a possible analysis model aboutinteractive multimedia documentary. 4. Documentary Genre + Digital Media +Net=Interactive Multimedia Documentary 5. Objectives- The main objective of this study is to analyze the stateof development of interactive multimediadocumentary and argue the desirability of adopting anew model of gender analysis.- The aim of this research is to describe, classify and analyze and interactive online documentary applications. 6. Methodology 7. Methodology 8. To establish a new genre categorization about interactive documentary we are developing a database where you can locate and order each document, based on the following parameters:1. The system expected a physical response that leads to aconscious choice by the interactor2. The document must show a desire for representation ofreality with the intention of documenting a situation in aparticular way (which characterizes the documentarypart).3. To be considered properly a multimedia interactivedocumentary, must include at least one form ofnavigation or interaction (which characterizes the digitalinteractive part). 9. Analysis Model (draft) 10. Navigational Modalities 11. Interaction Modalities 12. Modalities Fetaures 13. Case Study 1 14. Case Study 2 15. Categories 16. Categories 17. PROPOSAL DEFINITION- Interactive online/offline applications, carried out withthe intention to represent reality with their ownmechanisms, which we will call navigation andinteraction modalities, depending on the grade ofparticipation that is considered.- The interactive multimedia documentaries try both torepresent and to interact with reality, for which a series oftechniques or modes must be considered and used(navigation and interaction modalities), which become, inthis new way of communication, the key element toachieve the documentary objectives 18. CONCLUSIONS:- We cannot consider the interactive multimedia documentary as a mereevolution of documentary films.- The forms of representation cannot be considered sufficient indicatorsto analyze the new genus, but new resulting forms of navigation andinteraction- The intrinsic nature of the conventional documentary suffers significantchanges since the advent of this new documentary form, derived fromactual new technological scenario:- The author cannot be raised to create a single narrative program, closed and subjective, and must assume that somehow lose control of his work with the new situation often goes against their interests. 19. CONCLUSIONS:- The construction of the narrative and the discursive order movefrom linear, sequential scheme to a new stage characterized bydifferent approaches, nodes and endpoints. The text of the workhappens to have a closed to an open structure.- The interactor is configured as a contributor of content created bythe author: the new gender and new methods of navigation andinteraction include generic features resulting from the user. Theclassic spectator (now interactor, participant and contributor),becomes the creator of a personal documentary itself because itdirects the navigation control (the order of speech) and use thegreat power that enables interaction (the defining characteristicthat distinguishes digital media, thanks to its interface and thepossibility of relationship with others). 20. CONCLUSIONS:- The genus as such does not hatch in a short, difficult toestablish and acquire a role as a new form of interactivenonfiction.- A tendency to prevent this explosion may be related toconsumption and its individuals. The mental effort (andphysical) that is under the interactor in a documentaryapplication is much greater than in a traditional viewing.- The two media can live and exist without the emergence ofa marginalization behave or disappearance of another. 21. CONCLUSIONS:- The production and circulation of the interactivedocumentary seem to be at a standstill. Filmmakershave little incentives to turn a movie into aninteractive project, as doing it so would limit itsdistribution to the Internet, giving up control overauthorship and reduce the impact of the film due tothe experience of the small screen.- Non-linear narrative (similar to the loss of control over the discourse by the author), is seen as a problem within the traditional documentary world, but in this new genre is considered a big opportunity. 22. CONCLUSIONS:- This kind of narrative allows audiovisual project to provideelements to complement and enrich it, providing several addedvalues to the global experience of the audience, so that it is morevaried, complete and immersive.- The role of the documentary cinema director is to find themidpoint where the meaning can be maximised and the audienceis more committed, and it is in this midpoint where thedocumentary film and interactive media can coexist.- By combining the power of the film medium to provide aperspective and the ability to interact in order to improve theparticipation of the users with the material, the interactivedocumentary film can offer more significant documentaries. 23. -One of the essential premises of the traditional documentary is the desire to organise a story that is both informative and entertaining. And, in this sense, the interactive format should continue with the tradition to try offering similar experiences that mix a recreational (entertainment) proposal with an educational one (knowledge), in the most efficient, original and attractive possible way.-And this is mainly possible thanks to the combination of different navigational and interactive modalities, which enables a multiple exchange between the work and the interactor.- Firstly, navigating and visiting different proposals and structuring thecontents (information and knowledge) means the use of strategies andresources of the games. This way, from the structure of the interactive,and through the navigation modalities, the user, in a certain way,plays with the possibilities offered by the work and can satisfy theirfirst necessity: the one related to fun and entertainment. 24. - Secondly, this strategy closer to the game experience usually gives theuser a sensation of deep immersion and stops their learning frombeing boring and that their need of being informed or need or learningends up fading. Therefore, the didactic proposal offered is attractive anddynamic, beyond that present in most classical hypertexts.- Already at this stage, the interactor learns through playing and oncethey have learnt the lesson in a fun, original and lighthearted way,they can share it with other interactors, in real time or whenever they itdeems appropriate.- Therefore, we see how an interactive documentary can satisfy three needsor desires: the players one recreational, the one of the student oranyone with cultural interests educational or formative and therelational communication level with other participants. We believethat, through the correct mixing of these three aspects, non-fictionalmultimedia applications can be equated in attractiveness withproposals close to fiction. 25. Hypothesis1There is a representative sample of significant examples ofinteractive multimedia documentary to develop a differentiatedframework, systematic and coherent, that has some attributesjustified through the analysis model we developed2In this new documentary, the nature of the three main roles ofthe conventional documentary is affected: the author and maynot be raised to create a single narrative program, closed andsubjective, and must assume that somehow lose control of hiswork . Moreover, the construction of the narrative and thediscursive order move from linear, sequential scheme to a newstage characterized by a multidesplegament approaches, nodesand endpoints. Finalmanet, the interactor is configured as atransmitter and a contributor of content created by the author,and that the genre tends to give the user of generating capacity. 26. 3The online interactive multimedia documentary created newlogical representation of reality. The emphasis of these new logicslies in the way and the relationship established between text andinteractor when browsing and interaction, rather than how theauthor develops a speech given on reality for a passive spectator.The new discourse is constructed through the methods ofnavigation and interaction recorded in the documentary ratherthan from the modes of representation.4Gender study incorporates new strategies and formulas forimmersive, interactive documentary products and general non-fiction can be as attractive as the products of fiction. That is, thereis a set of input and interactive communication innovations offersinteractive documentary nonfiction in order to equate to thepowerful attraction to narrative forms of fiction. 27. 5Interactive multimedia documentaries tend to be equated withopen and generous by the interactor, the structure andorganization of which at any given time, are no longer controlledby either the author or the recipient. This arrangement means thatthe user-interactor-participating contributor can generate contentand, therefore, to acquire the role of issuer and have the ability toenrich the documentary with his own personal vision and content.This radically changes the concept of ownership of traditionalaudio-visual documentary.6The digital medium allows a type of interactive discourse, and itstwo main characteristics are interactivity and multimodality.These two basic aspects contribute decisively to the time to enrichthe interactive multimedia documentary and general nonfiction.Th