The history of documentary has been one of adaptation and change, as docu-mentarists have harnessed the affordances of emerging technology. In the last decade interactive documentaries (i-docs) have become established as a new field of practice within non-fiction storytelling. Their various incarnations are now a focus at leading film festivals (IDFA DocLab, Tribeca Storyscapes, Sheffield DocFest), major international awards have been won, and they are increasingly the subject of academic study. This anthology looks at the creative practices, purposes and ethics that lie behind these emergent forms. Expert contributions, case studies and interviews with major figures in the field address the production processes that lie behind interactive documentary, as well as the political, cultural and geographic contexts in which they are emerging and the media ecology that supports them. Taking a broad view of interactive documentary as any work which engages with 'the real' by employing digital interactive technology, this volume addresses a range of platforms and environments, from web-docs and virtual reality to mobile media and live performance. It thus explores the challenges that face interactive documentary practitioners and scholars, and proposes new ways of producing and engaging with interactive factual content.

"Tracing continuities in digital and documentary practices, this book is a study of interactive documentary from the perspective of documentary culture. Exploring the dizzy array of new documentary forms that have emerged in the past ten years, the book is grounded in the analysis of multiple, recent examples of digital documentary work, drawing out the key issues that the work raises. These issues provide a starting point for theoretical reflection, with each chapter developing concepts and frameworks to facilitate thinking with and through interactive documentary. The book explores questions of polyvocality, participation and political voice, as well as the sociality and performativity of digital documentary practice. By thinking deeply and critically about interactive documentary practice, the book charts the many and various ways in which interactive documentaries claim the real - contingently, partially or, in some cases, collectively. Each chapter draws on a range of examples - from digital games to data visualisations, database documentaries to virtual reality - demonstrating how we might engage with these 'unstable' digital texts. The book will be particularly valuable for students and researchers keen to make connections between documentary and digital media scholarship"--

This book constitutes the refereed proceedings of the Third International Conference on Interactive Digital Storytelling, ICIDS 2010, held in Edinburgh, UK, in November 2010. The book includes 3 keynotes, 25 full and short papers, 11 posters, 4 demonstration papers, 6 workshop papers, and 1 tutorial. The full and short papers have been organized into the following topical sections: characters and decision making; story evaluation and analysis; story generation; arts and humanities; narrative theories and modelling; systems; and applications.

Tracing continuities in digital and documentary practices, this book is a study of interactive documentary from the perspective of documentary culture. Exploring the dizzying array of new documentary forms that have emerged in the past ten years, the book is grounded in the analysis of multiple recent examples of digital documentary work, drawing out the key issues that the work raises. These issues provide a starting point for theoretical reflection, with each chapter developing concepts and frameworks to facilitate thinking with and through interactive documentary. The book explores questions of polyvocality, participation, and political voice, as well as the sociality and performativity of digital documentary practice. By thinking deeply and critically about interactive documentary practice, the book charts the many and various ways in which interactive documentaries claim the real – contingently, partially, or, in some cases, collectively. Each chapter draws on a range of examples – from digital games to data visualisations, database documentaries to virtual reality – demonstrating how we might engage with these ‘unstable’ digital texts. The book will be particularly valuable for students and researchers keen to make connections between documentary and digital media scholarship.

Interactive documentary is still an emerging field that eludes concise definitions or boundaries. Grounded in practice-based research, this collection seeks to expand the sometimes exclusionary field, giving voice to scholars and practitioners working outside the margins. Editors Kathleen M. Ryan and David Staton have curated a collection of chapters written by a global cohort of scholars to explore the ways that interactive documentary as a field of study reveals an even broader reach and definition of humanistic inquiry itself. The contributors included here highlight how emerging digital technologies, collaborative approaches to storytelling, and conceptualizations of practice as research facilitate a deeper engagement with the humanistic inquiry at the center of documentary storytelling, while at the same time providing agency and voice to groups typically excluded from positions of authority within documentary and practice-based research, as a whole. This collection represents a key contribution to the important, and vocal, debates within the field about how to avoid replicating colonial practices and privileging. This is an important book for practice-based researchers as well as advanced-level media and communication students studying documentary media practices, interactive storytelling, immersive media technologies, and digital methodologies.

Interactive documentary emerged rapidly from a constellation of changing technologies and practices to much excitement, yet its history is short and its future uncertain. In the mid-2010s Canada was a world leader in the creation of i-docs. Less than a decade later technological obsolescence has rendered many of these celebrated projects inaccessible, while rapid digital innovation continues to change the i-doc form and its modes of experience. The Interactive Documentary in Canada captures this transitional moment in documentary filmmaking and media production. Bringing together a range of historical, theoretical, and critical approaches, this collection examines the past – and the imagined future – of a nonfiction storytelling phenomenon that has Canadian institutions, figures, and works at its centre. Embracing a polyphonic conception of interactive documentary, the volume includes explorations of web-based, app-based, installation, and virtual reality works that push the boundaries of what is understood as documentary cinema. Leading documentary scholars and makers consider the historical and technological contexts of i-doc production, innovation, and exhibition; the political and pedagogical potential of the genre; the ethics of the i‐doc experience; and the format’s future lifespan in the contemporary media landscape. The Interactive Documentary in Canada establishes a place for the i-doc in the history of Canadian film, highlighting the genre’s significant impact on the National Film Board of Canada and on contemporary global documentary media.

This book constitutes the proceedings of the 3rd International Conference on Intelligent Technologies for Interactive Entertainment (INTETAIN 09). The papers focus on topics such as emergent games, exertion interfaces and embodied interaction. Further topics are affective user interfaces, story telling, sensors, tele-presence in entertainment, animation, edutainment, and interactive art.