Abstract
| Original language | English |
|---|---|
| Pages (from-to) | 325-339 |
| Number of pages | 15 |
| Journal | Journal of Media Practice |
| Volume | 8 |
| Issue number | 3 |
| DOIs | |
| Publication status | Published - 2007 |
Fingerprint
Cite this
}
From Michael Moore to JFK reloaded : towards a working model of interactive documentary. / Galloway, Dayna; McAlpine, Kenneth B.; Harris, Paul.
In: Journal of Media Practice, Vol. 8, No. 3, 2007, p. 325-339.Research output: Contribution to journal › Article
TY - JOUR
T1 - From Michael Moore to JFK reloaded
T2 - towards a working model of interactive documentary
AU - Galloway, Dayna
AU - McAlpine, Kenneth B.
AU - Harris, Paul
PY - 2007
Y1 - 2007
N2 - Traditionally, documentary has been presented as an objective portrayal of fact: the actualité. Recently, a new breed of ‘dramatic’ documentary that uses coercion; persuasion, and emotional manipulation has emerged to critical and commercial success. Contemporaneously, interactive entertainment has evolved to the point at which near-realism can be portrayed in real time. This, taken alongside the immersive interaction in which the industry specialises, and the dramatic techniques of engagement employed by the latest documentary films suggests that we may be at the brink of a new cultural form: the interactive documentary. In this paper we discuss the form that interactive documentary might take, and the historical and cultural context into which it fits. We conclude by detailing the issues raised by the concept of the interactive documentary, and how the role of documentary maker as auteur is reconciled with the notion of a truly interactive pathway through such a production.
AB - Traditionally, documentary has been presented as an objective portrayal of fact: the actualité. Recently, a new breed of ‘dramatic’ documentary that uses coercion; persuasion, and emotional manipulation has emerged to critical and commercial success. Contemporaneously, interactive entertainment has evolved to the point at which near-realism can be portrayed in real time. This, taken alongside the immersive interaction in which the industry specialises, and the dramatic techniques of engagement employed by the latest documentary films suggests that we may be at the brink of a new cultural form: the interactive documentary. In this paper we discuss the form that interactive documentary might take, and the historical and cultural context into which it fits. We conclude by detailing the issues raised by the concept of the interactive documentary, and how the role of documentary maker as auteur is reconciled with the notion of a truly interactive pathway through such a production.
U2 - 10.1386/jmpr.8.3.325_1
DO - 10.1386/jmpr.8.3.325_1
M3 - Article
VL - 8
SP - 325
EP - 339
JO - Journal of Media Practice
JF - Journal of Media Practice
SN - 1468-2753
IS - 3
ER -