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Journal Cover VIEW Journal of European Television History and Culture
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  This is an Open Access Journal Open Access journal
   ISSN (Print) 2213-0969 - ISSN (Online) 2213-0969
   Published by Netherlands Institute for Sound and Vision Homepage  [1 journal]
  • Editorial

    • Authors: Arnau Gifreu-Castells, Richard Misek, Erwin Verbruggen
      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.
      PubDate: 2016-12-31
      Issue No: Vol. 5 (2016)
       
  • Story, History and Intercultural Memory: Can a Transmedia Approach Benefit
           an Archive-Based Documentary Project?

    • Authors: Marida Di Crosta, Anita Leandro
      Abstract: How can transmedia storytelling benefit to a documentary production in order to give historical archives a second life? Could it possibly help updating official archives, adding to the them amateur’s contributions?
      We will try to answer the question by recalling some recent European experiences of Web-documentaries linked to television series. This will allows us to extrapolate a few theoretical fundamentals underlying the design of our transcontinental transmedia collaborative project of archive-based documentary – Histories of Brazil. Our aim is to show how a transmedia approach to archive-based content, intervening in contemporary digital interconnected environements, can work as a dynamic complementary tool for developing and sharing historical knowledge.
      PubDate: 2016-12-31
      Issue No: Vol. 5 (2016)
       
  • Interactive Graphic Journalism

    • Authors: Laura Schlichting
      Abstract: This paper examines graphic journalism (GJ) in a transmedial context, and argues that transmedial graphic journalism (TMGJ) is an important and fruitful new form of visual storytelling, that will re-invigorate the field of journalism, as it steadily tests out and plays with new media, ultimately leading to new challenges in both the production and reception process. With TMGJ, linear narratives may be broken up and ethical issues concerning the emotional and entertainment value are raised when it comes to ‘playing the news’. The aesthetic characteristics of TMGJ will be described and interactivity’s influence on non-fiction storytelling will be explored in an analysis of The Nisoor Square Shooting (2011) and Ferguson Firsthand (2015).
      PubDate: 2016-12-31
      Issue No: Vol. 5 (2016)
       
  • Aligning Participation with Authorship: Independent Transmedia Documentary
           Production in Norway

    • Authors: Joakim Karlsen
      Abstract: The main contribution of this article is to describe how the concept of non-fiction transmedia has challenged the independent documentary film community in Norway. How the new possibilities afforded by web- and mobile media, with the potential of reconfiguring the current relation between author and audience, has been perceived and performed. Based on an extensive interview study and reflections on contributing to a non-fiction transmedia project, I argue that the emerging practice of making non-fiction transmedia face many of the same challenges as the participative documentary practice of the 70s, mainly that facilitation of real audience participation, requires a break from the broadcasting logic of the mainstream documentary film practice.
      PubDate: 2016-12-31
      Issue No: Vol. 5 (2016)
       
  • Crossroads. Life Changing Stories from the Second World War: A
           (Transmedia) Storytelling Approach to World War II Heritage

    • Authors: Licia Calvi, Moniek Hover
      Abstract: Crossroads is the name of the concept that narratively connects several WWII-related cultural institutions in Brabant. We were initially looking for ways to connect 4 otherwise very diverse World War II-related institutions (in fact, 3 museums and a commemoration centre) and we found it in this overarching paradigm. Crossroads does not require museums to share their collection items. It offers them instead a tool to build and offer visitors a cohesive experience related to WWII heritage.  This experience is characterized by the specific focus into their WWII stories using storytelling that they can adopt. This paper will highlight the creative process that brought to the development of this concept and will discuss examples of the resulting transmedia narratives.
      PubDate: 2016-12-31
      Issue No: Vol. 5 (2016)
       
  • I’m Sorry I Don’t Have a Story: An Essay Involving Interactive
           Documentary, Bristol and Hypertext

    • Authors: Adrian Miles
      Abstract: From the Introduction:I don’t know what this is, which is a strange place from which to begin. This is unsettling, for as an academic I am trained and acculturated to displaying a certainty of manner — a certainty that many of my students and conference colleagues would attest I have down pat. It begins from Bristol. It begins from Alisa Lebow’s presentation at the 2016 i–Docs conference about her interactive documentary Filming Revolution. It begins from what I was reading during my thirty hours of travel between Melbourne and Bristol. It begins from the question that gnawed and nagged at me after Alisa’s keynote in Bristol. It begins in my body. Not much of an introduction, is it? This writing reintroduces hypertext as a specific and material way of making and performing knowledge and proposes it as a valuable precursor to interactive documentary and what I am describing as computational nonfiction. What I say here about hypertext, Filming Revolution as an interactive documentary, and story, are a prolegomena toward what computational nonfiction might be as a broader field that might encompass computers, technodigital practice, and networks. Oh, it was originally written as hypertext, and translating it into something more linear and sequential sees its looping rhythms, redundancies, and recursiveness become clumsy stutterings and repetitions.  
      PubDate: 2016-12-31
      Issue No: Vol. 5 (2016)
       
  • Small Change – Big Difference: Tracking the Transmediality of Red
           Nose Day

    • Authors: Matthew Freeman
      Abstract: This article analyses transmedia as a non-fictional social phenomenon, discussing the significance of participation, documentary, and community media. Specifically, the article conceptualises transmedia through the lens of charity politics. To do so, I use the Comic Relief charity campaign in the UK to trace how the socials traditions, ways of life and sensibilities associated with Red Nose Day have evolved into emerging digital technologies to shape this charity campaign across the borders of multiple media platforms. Embracing how social specificity informs non-fictional transmedia, I position ‘infotainment’ as a key conceptual basis of non-fictional transmedia, showing how audiences follow the ‘ethos’ of Red Nose Day across multiple media.
      PubDate: 2016-12-31
      Issue No: Vol. 5 (2016)
       
  • Emergent Principles for Digital Documentary

    • Authors: Richard Lachman
      Abstract: Digital Documentaries are an area of rapid invention and experimentation at all levels, including creative content, production techniques, and business models.  As with many forms of digital storytelling, a focus on technologies can be distracting; platforms change rapidly, and are dependent on external commercial forces rather than creative potential.  This article presents several design strategies for driving experimentation in digital documentary above and beyond the specific of platform and technology. The core focus is on treating digital docs as experiences, with an expanded range of designable moments, as well as a strategic approach to designing interactions for their unique set of challenges.  The discussion is not intended to fully define digital documentary design factors, but rather, defines a useful subset of methods that can lead emerging practitioners to new innovations in their approach.
      PubDate: 2016-12-31
      Issue No: Vol. 5 (2016)
       
  • Korsakow Perspective(s): Rethinking Documentary Knowledge in Digital
           Multilinear Environments

    • Authors: Franziska Weidle
      Abstract: In “linear documentary land”, we are trained to see stories everywhere we look. As noted by Grasseni and Walter (2014), digital media affordances encourage reflections on this particular “schooling of the eye”, the power relations it is embedded in as well as the creation of counter-practices. Indeed, many artists, media practitioners and scholars advocate interactivity as a different, possibly more “authentic“, representative strategy for documentary. Drawing on my ethnographic study of the Korsakow-System, this paper analyses a software as part of a situated visual knowledge practice that challenges story as primary organizing principle in computational networked environments.

      PubDate: 2016-12-31
      Issue No: Vol. 5 (2016)
       
  • A Transmedia Topology of 'Making a Murderer'

    • Authors: Alan Hook, Danielle Barrios-O'Neill, Jolene Mairs Dyer
      Abstract: This article constructs a transmedia topology of the Making a Murderer text, demonstrating influences of various forms of documentary, interactive gaming culture, and post-digital writing on the series itself as well as on the paratextual cloud of works that grew up around it. Here we define transmedia topology as a tracing of what we could call the geography of the text, as defined by its features and boundaries (or lack thereof). We will discuss the intentionality of the series creators, as well as the emergence of a transmedial textuality that is owed largely to audiences and the textual terrain. The Making a Murderer series thus becomes the basis for a larger transmedia narrative that sprawls across social-digital networks, a pastiche of multifarious public reaction and unsanctioned investigation.The article maps the ecologies of interaction, participation and creation with and of the text by the audience to map the thresholds of the transmedial text and investigate new approaches to analysing transmedial work in the context of non-fiction media forms.
      PubDate: 2016-12-31
      Issue No: Vol. 5 (2016)
       
 
 
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