This paper explores Actor-Network Theory (ANT) as a framework for understanding interactive documentary. It examines Adrian Miles’s work in this area, where he uses ANT as a way of conceptualising ...

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Interactive documentary as relational media: exploring an actor-network theory approach

Similarities in adaptations of scripted television formats: The global and the local in transnational television culture

espanolEste trabajo caracteriza al documental interactivo como un formato audiovisual nativo transmedia. Esta forma de expresion narrativa particular a menudo aglutina y concentra los diferentes medios, formatos y plataformas a traves de la metafora y navegacion interactivas. El documental interactivo cumpliria entonces una serie de requisitos para ser considerado como “formato nativo transmedia”, y esta hipotesis se demuestra a partir de la seleccion de un conjunto de proyectos representativos analizados a tal efecto. En primer lugar, se define y caracteriza el concepto de narrativa transmedia. A continuacion, se realiza una aproximacion al concepto de no ficcion interactiva y transmedia, para focalizar el objeto de estudio en la forma adecuada de expresion narrativa del documental interactivo. En tercer lugar, se identifica una muestra reducida de proyectos provenientes de diferentes paises. De la muestra reducida de proyectos se ha elegido el proyecto "Sexo, maracas y chihuahuas" (Minimal Films, RTVE. ES, TVC, Labyrinz Studio, 2016) para ser analizado como caso de estudio. En las conclusiones del articulo se exponen los resultados, indicadores y estructuras clave detectadas a partir del analisis cualitativo de la muestra. Las tres estructuras detectadas como formato nativo transmedia del documental interactivo son la “estructura linea de tiempo”, la “estructura contenedor” y la “estructura mosaico”. En los diferentes proyectos analizados predomina un tipo de estructura o una mezcla entre ellas. EnglishThis work characterizes interactive documentary as a native transmedia audiovisual format. This particular form of narrative expression often brings together and concentrates different media, formats and platforms through a metaphor and interactive navigation. Interactive documentary needs to fulfill a series of requirements to be considered a “native transmedia format”. This hypothesis is tested by selecting a set of representative projects and analyzing them for this purpose. First, we define and characterize the concept of transmedia narrative. Second, the concept of interactive and transmedia non-fiction is explored to bring into focus the specific narrative expression of interactive documentary. Third, we identify a small sample of projects from different countries. From this small sample, we chose the project “Sexo, maracas y chihuahuas” (Minimal Films, RTVE.ES, TVC, Labyrinz Studio, 2016) to be analyzed as a case study. We present the results, indicators and key structures determined in the qualitative analysis of the sample in the conclusions of the article. The three structures detected as the native transmedia format of interactive documentary are the “timeline structure”, the “container structure” and the “mosaic structure”. In the different projects analyzed, one type of structure predominates or there is a mix of the three structures.

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Aproximación al documental interactivo como formato nativo transmedia

Using Broadchurch and its American version Gracepoint as a case study, this article explores the aesthetic relationship between these two television programmes through an analysis of their visual and aural styles. The increasing proliferation of television-to-television adaptations and remakes necessitates revisiting the terminology to assess how it accommodates methodological approaches that extend beyond cross-cultural analyses. As narrative content and style are inextricably connected, this article attends to the complexity of employing existing terms to analyse the new version of a programme that simultaneously replicates and departs from the style and tone of its predecessor.

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Investigating sound: Visual and aural style from Broadchurch to Gracepoint

Over the last years, interactive digital media have greatly affected the logics of production, exhibition and reception of non-fiction audiovisual works, leading to the emergence of a new area called ‘interactive and transmedia non-fiction’. While the audiovisual non-fiction field has been partially studied, a few years ago emerged a new field focusing on interactive and transmedia non-fiction narratives, an unexplored territory that needs new theories and taxonomies to differentiate from its audiovisual counterpart.

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Arnau Gifreu-Castells

Papers

Transgressing the Non-fiction Transmedia Narrative