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Transgressing the Non-fiction Transmedia Narrative

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TLDR
In this article, 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, is introduced.
Abstract
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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Interactive documentary as relational media: exploring an actor-network theory approach

TL;DR: In this article, actor-network theory (ANT) is used as a framework for understanding interactive documentary, where the authors examine Adrian Miles's work in this area, where he uses ANT as a way of conceptualising interactive documentaries.
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Similarities in adaptations of scripted television formats: The global and the local in transnational television culture

TL;DR: In this paper, the similarities between the versions are related to three aspects: the specific traits that characterize the series as a television format, the process of searching for equivalences among cultural contexts, and the use of audiovisual language with a certain universal value.
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Aproximación al documental interactivo como formato nativo transmedia

TL;DR: In this article, the authors define and characterize the concept of transmedia narrative and identify three structures detected as the native transmedia format of interactive documentaries: the timeline structure, the container structure, and the mosaic structure.
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Investigating sound: Visual and aural style from Broadchurch to Gracepoint

Amanda R. Keeler
- 01 Apr 2017 - 
TL;DR: The authors explored the aesthetic relationship between Broadchurch and its American version Gracepoint through an analysis of their visual and aural styles and found that the style and content are inextricably connected, and the complexity of employing existing terms to analyse the new version of a programme that simultaneously replicates and departs from the style of its predecessor.
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What is the state of modern transgressive fiction?

The provided paper does not discuss the state of modern transgressive fiction.