Arnau Gifreu-Castells
Arnau Gifreu Castells is a Doctor in Communications (Universitat Pompeu Fabra, 2013; CAC Awards 2013) and has a Master’s Degree in Digital Arts (UPF, 2005). Accreditation obtained from ANECA and AQU (Spain). He has been a research affiliate at the Open Documentary Lab (MIT, 2013-2018) and part of the i-Docs group (University of the West of England). Member of the research group Medium (UPF). He has published various books and articles in his research area, interactive, transmedia and immersive non-fiction, and specifically on interactive documentaries. He has published in journals such as International Journal of Communication, Studies in Documentary Film, Curator: the Museum Journal, Collection and Curation, Museum Management and Curatorship or Lecture Notes on Computer Science, and in editorials such as Wiley-Blackwell, Columbia University Press, Penguin Random House, Síntesis, Tirant lo Blanch, etc.
He has worked as a producer at 25TV (2000-2004), collaborator at Televisió de Catalunya (Department of Learning Programs, 2013-2014), advisor and collaborator of RTVE.ES (Department of Interactive Media, ‘Somos Documentales’, 2014-2018) and creative and interactive producer at RTVCPlay (Colombia, 2020-2023). He has worked as a producer and director at Tasmania Films and Alexander Productions (2004-2006), and co-directed the production company Espill Media (2013-2017). He coordinated interDocsBarcelona, the interactive section of DocsBarcelona International Documentary Film Festival (2013-2018). He is part of the Mediamorfosis Festival coordinating the training area.
Since 2005, he has been involved in degrees at 15 universities and more than 25 postgraduate programs in countries such as Spain, Argentina, Colombia, Ecuador, Cuba, Romania and Greece. He is a lecturer at Autonomous University of Barcelona and invited teacher at EICTV (Cuba). Member of the International Academy of Digital Arts and Sciences (IADAS) and the Academy of Interactive & Visual Arts (AIVA), the Catedra Latinoamericana de Narrativas Transmedia (ICLA-Universidad Nacional de Rosario, Argentina), Bug404 project (Brazil) and Alados (Colombia). He collaborates with the International Centre for New Media (European Youth Award, Austria). He has served as a scholarship evaluating jury for La Caixa (2018-2023) and a member of the ICIDS (International Conference on Interactive Digital Storytelling, 2019) conference committee.
Supervisors: Dr. Carlos A. Scolari and Dra. Glòria Jové Monclús
He has worked as a producer at 25TV (2000-2004), collaborator at Televisió de Catalunya (Department of Learning Programs, 2013-2014), advisor and collaborator of RTVE.ES (Department of Interactive Media, ‘Somos Documentales’, 2014-2018) and creative and interactive producer at RTVCPlay (Colombia, 2020-2023). He has worked as a producer and director at Tasmania Films and Alexander Productions (2004-2006), and co-directed the production company Espill Media (2013-2017). He coordinated interDocsBarcelona, the interactive section of DocsBarcelona International Documentary Film Festival (2013-2018). He is part of the Mediamorfosis Festival coordinating the training area.
Since 2005, he has been involved in degrees at 15 universities and more than 25 postgraduate programs in countries such as Spain, Argentina, Colombia, Ecuador, Cuba, Romania and Greece. He is a lecturer at Autonomous University of Barcelona and invited teacher at EICTV (Cuba). Member of the International Academy of Digital Arts and Sciences (IADAS) and the Academy of Interactive & Visual Arts (AIVA), the Catedra Latinoamericana de Narrativas Transmedia (ICLA-Universidad Nacional de Rosario, Argentina), Bug404 project (Brazil) and Alados (Colombia). He collaborates with the International Centre for New Media (European Youth Award, Austria). He has served as a scholarship evaluating jury for La Caixa (2018-2023) and a member of the ICIDS (International Conference on Interactive Digital Storytelling, 2019) conference committee.
Supervisors: Dr. Carlos A. Scolari and Dra. Glòria Jové Monclús
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Articles by Arnau Gifreu-Castells
------- Abstract: This research explores the way of working, from the development of the project to the premiere, of four documentaries linked to Peru that were shown in commercial movie theaters and on video streaming platforms. The research and analysis carried out points to the position taken by producers and directors to be cautious about the exhibition on video streaming platforms, recommending to calmly verify the alternatives that allow them to make their work more profitable during the lifetime of the same.
-------Resumen: Esta investigación explora el modo de trabajo, desde el desarrollo del proyecto hasta el estreno, de cuatro documentales vinculados al Perú. Estos fueron exhibidos en salas de cine comerciales y en plataformas de video en streaming. La investigación y análisis efectuados apuntan a que la postura tomada por productores y directores es ser prudentes frente a la exhibición en plataformas de video streaming, por lo que recomiendan verificar con calma las alternativas que permiten rentabilizar,
de una mejor manera, su obra durante el tiempo de vida que dure la misma.
Theoretical-practical subject that provides an approach to audiovisual and multimedia languages. Based on a set of projects, guidelines are defined for designing and implementing these languages. The theoretical part examines the fundamentals of the audiovisual (narrative, grammar and script) and multimedia (narrative, architecture and design) languages, and analyzes the main trends of current interactive and immersive formats (Interactive Narratives, Interactive Video, Video Games, Transmedia Narratives, Extended Reality/XR, Immersive Experiences, Generative AI, etc.). These trends are projected, navigated and explored based on the study of a selection of works that operate as case studies. The works include both international projects and works produced in the professional and academic environment by the teacher. In the practical part of the course, students work in groups and have specific roles to produce an audiovisual project and a multimedia project that have a thematic and aesthetic relationship. The projects also maintain coherence and a narrative dialogue between the different media and platforms.
---- ABSTRACT: Our communication aims to investigate the relationships between sound and textual characteristics in native social media news videos. Such videos often deviate from the codes of traditional, linear television journalism and offer emerging formats, sometimes innovative, that are currently heterogeneous (Bock, 2016). A notable phenomenon in these videos is their compatibility with soundless consumption, thanks to subtitles, in particular. The ordinary voiceover commonly used in television is regularly replaced by textual annotation within the video. Our research question is therefore formulated as follows: Is text supplanting sound, making the latter non-essential in social media news videos on Facebook, Youtube, Instagram and TikTok? How has this phenomenon evolved between 2020 and 2023?
--- RESUMEN: En los últimos años ha habido una multiplicación exponencial de contenido mediático, plataformas y usos. Tras contextualizar el declive de las grandes corrientes teóricas de la comunicación y exponer el sesgo lingüístico de la semiótica, este artículo propone una revisión y caracterización de los instrumentos referenciales y metodologías para el análisis de objetos textuales, multimodales y transmedia, con especial énfasis en aquellos de naturaleza digital conectada. Con este fin, se realiza una revisión integradora de 75 documentos que abordan el tema, dejando la muestra final compuesta por los 25 más relevantes para los propósitos de la investigación. La ruta epistemológico-instrumental va desde el Análisis Estructural de la Historia hasta la Visión por Computadora, pasando por la Etnografía Digital y el Análisis del Discurso Multimodal. Las conclusiones incluyen un esbozo de un instrumento de análisis que sintetiza el estudio realizado, revelando previamente el axioma propuesto por varios autores de que no existe un método único e invariable para el estudio de este tipo de objetos. La tendencia, por el contrario, apunta a la atomización de la investigación en aspectos específicos, en lugar de buscar la generalización de resultados y la consolidación de cuerpos teóricos y técnicas universalizables. También se señala que el giro cuantitativo y la programación algorítmica para el estudio de objetos digitales abren una nueva dimensión analítica con capacidades transhumanas que aún están lejos de ser accesibles para la comunidad científica internacional.
---- ABSTRACT: In recent years there has been an exponential multiplication of media content, platforms and uses. After contextualizing the decline of the great theoretical currents of communication and exposing the linguistic bias of semiotics, this article proposes a review and characterization of the referential instruments and methodologies for the analysis of textual, multimodal and transmedia objects, with special emphasis on those of a connected digital nature. For this purpose, an integrative review of 75 documents that address the issue is carried out, leaving the final sample composed of the 25 most relevant for the purposes of the research. The epistemological-instrumental route goes from the Structural Analysis of the Story to Computer Vision, passing through Digital Ethnography and Multimodal Discourse Analysis. The conclusions include a sketch of an analysis instrument that synthesizes the study carried out, previously revealing the axiom put forward by several authors that there is no single invariable method for the study of this type of objects. The tendency, on the contrary, points to the atomization of research on specific aspects, rather than to a search for the generalization of results and the consolidation of theoretical bodies and universalizable techniques. It is also noted that quantitative turn and algorithmic programming for the study of digital objects open up a new analytical dimension with transhuman capabilities that is still far from being accessible to the international scientific community.
--- ABSTRACT: The evolution of film and its technological development led to an increase in access, allowing the inclusion of new actors in the sphere of audiovisual creation. In this context, Indigenous peoples made their own film productions, gaining visibility (Ginsburg, 2002) and challenging ethnographic perspectives (Moore, 1992). Therefore, the concept of Indigenous filmmaking acquired relevance, referring to the film production made by “those people variously called ‘indigenous’, ‘tribal’, or ‘first nations’; in sum, the still-residing descendants of the original inhabitants of territories subsequently taken over or circumscribed by alien conquest or settlement” (Shohat y Stam, 2014, p. 32).
---- Resumen: El estudio investiga cómo analiza el efecto de las estrategias de marketing en las transmisiones de creadores de contenido y su influencia en el reconocimiento de marcas. En el estudio realizado a 300 consumidores, se reveló que las estrategias que integran creatividad y emoción dentro del contenido resultan ser mucho más efectivas que las promociones directas. Los creadores de contenido que incorporan marcas orgánica y creativamente en sus contenidos fomentan un mayor interés y preferencia por estas entre su audiencia. Estos hallazgos sugieren un viraje hacia estrategias de marketing digital centradas en la integración creativa y natural de marcas en contenido, lo cual es crucial para mejorar su percepción. Este enfoque, que prioriza la narrativa armoniosa entre marcas y creadores de contenido, marca un futuro para el marketing digital que trasciende lo transaccional, buscando
conectar emocionalmente con las audiencias y generando un diálogo genuino en el dinámico entorno de la transmisión en directo.
---- Abstract: The study investigates how it analyzes the effect of marketing strategies on content creators’ broadcasts and their influence on brand recognition. In the study conducted with 300 consumers, it was revealed that strategies integrating creativity and emotion into the content are much more effective than direct promotions. Content creators who organically and creatively incorporate brands into their content foster greater interest and preference for these brands among their audience. These findings suggest a shift towards digital marketing strategies focused on the creative and natural integration of brands into content, which is crucial for improving their perception. This approach, which prioritizes harmonious narrative between brands and content creators, marks a future for digital marketing that transcends the transactional, seeking to emotionally connect with audiences and generate genuine dialogue in the dynamic environment of live streaming.
---- Resumen: En el contexto de cambiantes dinámicas sociales que reconfiguran el consumo mediático, el enfoque de este trabajo se dirige al universo del streaming. Este estudio abarca la perspectiva de consumidores y creadores, desvelando la construcción de la comunicación efectiva entre streamers y audiencia, y en especial en cómo influye esta interacción en preferencias y hábitos de consumo. La aproximación se realiza a través de una metodología mixta, combinando un cuestionario dirigido a 205 consumidores y entrevistas con 22 streamers. La interacción entre streamers y audiencia no solo se enfoca en la creación y compartición de contenido, sino que también forja una comunidad virtual que trasciende barreras. Este estudio subraya que el streaming no debe ser comprendido solo como entretenimiento, sino como un fenómeno cultural que redefine cómo nos conectamos con el contenido y entre nosotros. En última instancia, se concluye que interacción y contenido, en proceso simbiótico, se origina en los streamers pero adaptándose a temáticas y deseos de una audiencia cautiva.
--- Abstract: In the context of changing social dynamics reshaping media consumption, the focus turns to the intriguing realm of streaming. This study encompasses the perspectives of consumers and creators, unveiling the construction of effective communication between streamers and their audience, and how this interaction influences preferences and consumption habits. Through a mixed methodology, combining a questionnaire for 205 consumers and interviews with 21 streamers, significant findings emerge. The interaction between streamers and their audience not only guides content creation and sharing but also forges a virtual community transcending boundary. This study underscores that streaming is more than entertainment—it’s a cultural phenomenon redefining how we connect with content and each other. Ultimately, it is concluded that interaction and content, in a symbiotic process, originate.
-- Link 1: https://ijoc.org/index.php/ijoc/article/view/19412
-- Link 2: https://ijoc.org/index.php/ijoc/article/view/19412/4027
------- Abstract: This research aims to evaluate the face-to-face participation processes included in the design of collaborative interactive documentaries. The transmedia expansion of these initiatives favors a hybrid approach that keeps the online perspective but also reclaims the link between creative collaboration and territory, thus generating collective processes with the participants. This article presents an analysis of four projects developed in both physical and virtual spaces. We apply an original characterization model to each of the initiatives to draw conclusions about face-to-face participation, its different formulas depending on the creative approach, and the influence that onsite participation has on the results. We detected a series of productive connections that occur because of the spatial conception of the initiatives and that have consequences for the development of the works, either increasing the participants' involvement or improving the collaboration results.
------ Resumen: Esta investigación pretende evaluar los procesos de participación presencial incluidos en el diseño de documentales interactivos colaborativos. La expansión transmedia de estas iniciativas favorece un enfoque híbrido que mantiene la perspectiva online pero también reivindica el vínculo entre colaboración creativa y territorio, generando así procesos colectivos con los participantes. Este artículo presenta un análisis de cuatro proyectos desarrollados tanto en espacios físicos como virtuales. Aplicamos un original modelo de caracterización a cada una de las iniciativas para extraer conclusiones sobre la participación presencial, sus diferentes fórmulas en función del enfoque creativo, y la influencia que la participación in situ tiene en los resultados. Detectamos una serie de conexiones productivas que se producen por la concepción espacial de las iniciativas y que tienen consecuencias en el desarrollo de los trabajos, ya sea aumentando la implicación de los participantes o mejorando los resultados de la colaboración.
Online link: https://revistaseletronicas.pucrs.br/ojs/index.php/revistafamecos/article/view/43375/27560
---- Abstract: This work explores the ethical and moral limits of practicing realism in immersive nonfiction. To establish these practices, the nonfiction media ecosystem is analyzed from traditional to emerging immersive forms. Four significant forms of nonfiction works are discussed that reflect different ethics of realism: documentary, journalism, education, and cultural heritage. Through the description and presentation of each form, a provisional set of elements, variables, indicators and parameters that impact practices and ethics of realism are presented. These compositional elements can be implemented in the design, development and production of experiences for audiences that respect social, cultural, political, physical, and material realities.
------ Resumen: Este trabajo cuestiona los límites éticos y morales a la hora de representar el realismo en entornos inmersivos de no ficción. Para establecer estas prácticas, se analiza el ecosistema mediático de no ficción, desde las formas más tradicionales hasta las formas inmersivas emergentes. Con el fin de ilustrar las diferentes éticas aplicadas al realismo, se analizan cuatro formas significativas de no ficción: documental, periodismo, educación y patrimonio cultural. A través de la descripción y presentación de cada forma, se presenta un conjunto provisional de elementos, variables, indicadores y parámetros que inciden a nivel de impacto en las prácticas y éticas en relación con el realismo. Estos elementos compositivos pueden implementarse en el diseño, desarrollo y producción de experiencias para audiencias que respeten las realidades sociales, culturales, políticas, físicas y materiales.
------- Resumo: Este trabalho questiona os limites éticos e morais da prática do realismo na não ficção imersiva. Para estabelecer essas práticas, o ecossistema midiático de não ficção é analisado das formas imersivas tradicionais às emergentes. São discutidas quatro formas significativas de obras narrativas de não ficção que refletem diferentes éticas do realismo: documentário, jornalismo, educação e patrimônio cultural. Através da descrição e apresentação de cada formato, apresenta-se um conjunto provisório de elementos, variáveis, indicadores e parâmetros que impactam as práticas e a ética do realismo. Esses elementos composicionais podem ser implementados na concepção, desenvolvimento e produção de experiências para públicos que respeitem as realidades sociais, culturais, políticas, físicas e materiais.
----- Abstract: Project that promotes the study, training, production and preservation of audiovisual, interactive, transmedia and immersive nonfiction narratives. We believe this is the most suitable place to introduce this informative, formative and productive proposal that places emphasis on the field of reality, on real stories; but not just any reality, on expanded and extended reality. The first phase of the development of the project is based on the creation of a platform in the form of an observatory that includes and preserves different genres and formats of extended reality. These genres include documentary, journalism, education, museums, essay and political discourse, among many others. All these nonfiction genres and formats are mixed with different narrative expression forms, such as audiovisual, interactive, transmedia and immersive. The second phase is the design and implementation of a training academy-school. The third phase includes the stimulation and transfer of knowledge for production, through consulting with companies and brands to generate real storytelling that becomes specific branding.
------------- RESUMEN: La curiosidad, la libertad, la búsqueda y el hallazgo distinguen al documental interactivo. Una expresión genérica que no limita al usuario, pues este navega, e incluso, entra y sale de la plataforma comunicativa según sus necesidades e intereses. Lo que se persigue es propiciar estructuras multidesarrollos que contemplen diferentes recorridos y desenlaces. La Escuela Internacional de Cine y Televisión de San Antonio de los Baños (EICTV) y su Cátedra de TV y Nuevos Medios, ya incursionan, desde sus ejercicios docentes, en este perfil de formato narrativo y de indiscutible interactividad. Lo hacen tratando de encontrar en ella una manera diferente de contar nuestra realidad, al tiempo que resulta un instrumento de comunicación que aporta múltiples aspectos sobre nuestra historia y la realidad circundante (extraído de: http://www.eictv.org/idoc/).
URL Revista: http://media.eictv.org/enfoco_digital/ENFOCO54.pdf
--- ABSTRACT: This study discusses possible bias in making television interviews with Spanish political leaders. The audiovisual narrative process and scene-setting, the responsibility of the production team, are seen as playing a decisive role in the neutrality of interviews. The study analyses the audiovisual manner by which the Spanish public television corporation, TVE, treated the main Spanish political leaders Pedro Sánchez, Pablo Iglesias, Albert Rivera and Mariano Rajoy on its programme Los desayunos de TVE, as well as their closest collaborators, Adriana Lastra, Pablo Echenique, Fernando de Páramo and Fernando Martínez-Maíllo, in 2018. In the interviews analysed, audiovisual narratives were identified; these were guided by the programme's directors, who are able to influence the impartiality of the interview. The homogeneity of the audiovisual coverage on each political leader is discussed, in respect of all the locations and scene-settings being similar. The results show that the different political leaders did not receive the same conditions or narrative coverage in the audiovisual direction. Consequently, they did not face the same implicit threats in the interview questions analysed. ---- RESUMEN: En esta investigación se discute el posible sesgo en el desarrollo de las entrevistas televisivas a líderes políticos españoles. Se considera que el proceso narrativo audiovisual y la puesta en escena, responsabilidad del equipo de realización, puede tener un papel decisivo en la neutralidad de las entrevistas. Se analiza el tratamiento audiovisual realizado a cada uno de los líderes políticos, Pedro Sánchez, Pablo Iglesias, Albert Rivera y Mariano Rajoy en el programa Los desayunos de TVE, y a sus colaboradores más cercanos, Adriana Lastra, Pablo Echenique, Fernando de Páramo y Fernando Martínez-Maíllo, en 2018. Durante las entrevistas analizadas se han descubierto narrativas audiovisuales dirigidas desde el equipo de realización del programa capaces de condicionar la imparcialidad de la entrevista. Se discute si el tratamiento audiovisual otorgado a cada uno de los líderes políticos es homogéneo, siendo las localizaciones y escenografías similares. Los resultados evidencian que los distintos líderes políticos no han tenido las mismas condiciones o tratamiento narrativo en la realización audiovisual, por lo que no se han enfrentado a las mismas amenazas implícitas en las preguntas que componen las entrevistas analizadas.
----- ABSTRACT: The presence of ever more conflicting stances between Europhiles and Eurosceptics has revealed some audiovisual discourses unknown until now. The fragmentation of inconclusive narrative discourse and staged situations with a clear intent to clash all make it necessary to analyse in detail the role given by the audiovisual media to the European process of democratisation. This study addresses the audiovisual discourse in Spanish public television (TVE) with the intention of discovering how the different topics addressed in debates are dealt with in audiovisual production, and whether those topics have benefited from certain decisions by the production team that are subjective a priori. Using external codifiers, the intensity of each question has been checked and the result has been correlated with the dependent variables "[camera] shot with question while listening" and "shot with question with split screen". The variables have been subjected to descriptive analyses, correlation with hypotheses, and bivariate analyses using Pearson's correlation (Rx-y). The results indicate a clear difference in the modes of television representation between national Spanish and European debates. It is discussed whether this audiovisual differentiation may condition the perception that the audience may have of European politics .
------------------ RESUMEN: La explosión del vídeo y lo visual en Internet ha creado las condiciones idóneas para la aparición y evolución del documental interactivo como formato de no ficción. Este trabajo se propone analizar una serie de proyectos representativos desarrollados entre 2010 y 2014, aplicando un modelo de análisis creado a tal efecto. Se estudian los documentales interactivos Prison Valley (2010), One Millionth Tower (2011), Bear 71 (2012), Hollow (2013) y V.O.S.E. (2014). A partir de la evolución del género documental y una aproximación al estado actual de desarrollo del documental interactivo, se efectúa un análisis comparado entre los cinco proyectos seleccionados–en términos de producción y circulación, relación autor-texto-usuario, estructura, navegación e interacción y representación de la realidad–. Finalmente, se elabora una exploración del desarrollo del documental interactivo en los dos últimos años y se proponen un conjunto de cuestiones a resolver surgidas a partir del análisis efectuado. A modo de conclusión, se presenta esta forma de la no ficción interactiva como una forma contemporánea, marcada por la complejidad y la hibridación, con desafíos y oportunidades hacia su institucionalización y en el encuentro con nuevas tecnologías.
-------------------- ABSTRACT: The explosion of video and visual content on the Internet have created the ideal conditions for the emergence and evolution of interactive documentary as a non-fiction format. This paper analyzes a series of representative projects developed between 2010 and 2014, applying an analysis model created for this purpose. Prison Valley (2010), One Millionth Tower (2011), Bear 71 (2012), Hollow (2013) and V.O.S.E. (2014) were considered. Based on the evolution of the documentary genre and an approach to the current state of development of the interactive documentary, a comparative analysis is carried out among the five selected projects –in terms of production and circulation, author-text-user relationship, structure, navigation and interaction and representation of reality–. Finally, an exploration of the development of the interactive documentary in the last two years is elaborated and a set of questions to solve arising from the analysis carried out is proposed. As a conclusion, this form of interactive non-fiction is presented as a contemporary form, marked by complexity and hybridization, with challenges and opportunities for its institutionalization and in convergence with new technologies.
--------------- RESUMEN: Este trabajo caracteriza al documental interactivo como un formato audiovisual nativo transmedia. Esta forma de expresión narrativa particular a menudo aglutina y concentra los diferentes medios, formatos y plataformas a través de la metáfora y navegación interactivas. El documental interactivo cumpliría entonces una serie de requisitos para ser considerado como “formato nativo transmedia”, y esta hipótesis se demuestra a partir de la selección de un conjunto de proyectos representativos analizados a tal efecto. En primer lugar, se define y caracteriza el concepto de narrativa transmedia. A continuación, se realiza una aproximación al concepto de no ficción interactiva y transmedia, para focalizar el objeto de estudio en la forma adecuada de expresión narrativa del documental interactivo. En tercer lugar, se identifica una muestra reducida de proyectos provenientes de diferentes países. 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 artículo se exponen los resultados, indicadores y estructuras clave detectadas a partir del análisis cualitativo de la muestra. Las tres estructuras detectadas como formato nativo transmedia del documental interactivo son la “estructura línea de tiempo”, la “estructura contenedor” y la “estructura mosaico”. En los diferentes proyectos analizados predomina un tipo de estructura o una mezcla entre ellas.
--------------- ASBTRACT: Abstract: This 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 trans- media 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.
---------------- Abstract: The constant updating and unstoppable advance of technologies, mixing of platforms, programs and codes and the new trends in funding, among other factors, have led us to a present-future full of interactive, collaborative, participatory and co-creative digital artefacts and works. Games, experimental projects, short films and interactive video clips, in relation to fictional and non-fictional narrative, like documentary and journalism mainly, generate a complex body of works that depend on a series of compatibilities between technologies and languages to work properly and keep up with the times. The main purpose of this article is to analyse how the expression forms of interactive nonfiction narrative can be exhibited and preserved, looking at four main genres: documentary, journalism, museums and education. //
Design/methodology/approach
At the methodological level, a study of analogue and digital forms in the proposed areas was performed, and a series of projects as case studies were analysed. In addition, a series of initiatives and institutions developing preservation methods are listed and ten effective strategies have been proposed to preserve interactive and transmedia nonfiction works. //
Findings
The results make it possible to propose new ways of exhibiting and preserving valuable digital non-fiction works that need to be catalogued and safeguarded for the future. //
Originality/value
For non-digital artistic forms of expression, copies were the main way of ensuring their preservation, but how does this process work for digital art forms? This area is a virgin field that urgently needs to be studied to determine and generate structures for preserving these types of works.
---------------- ABSTRACT:
In the last decade, transmedia storytelling has burst into the fiction and nonfiction worlds. Stories are now told and expanded through different media and platforms, both analogue and digital. Although museums do not as yet use the adjective ‘transmedia’ to describe their stories, they have been applying the concept naturally for decades. Here we reflect on the traditional modus operandis of museums and determine how close it is to the dictates of transmedia storytelling by analysing the Bosch project of the Museo Nacional del Prado in Madrid (Spain).
---------------- Abstract: This work explores the potential of interactive documentary as a teaching tool, both from a didactic perspective, in which the documentary is a viewing and learning tool. To do this, we analysed the characteristics of interactive documentary within the Educommunication framework.
---------------- Abstract: This article presents an original methodological proposal for studying and analysing interactive and transmedia documentary. I propose guidelines for teaching three independent modules that present the study object in relation to three structured phases: (1) the precedents and antecedents, appearance of the expression form; (2) emergence and experimentation; and (3) consolidation and possible institutionalisa-tion.
---------------- Resumo: O artigo apresenta uma metodologia original para estudar e analisar o docu-mentário transmedia e interativo. Proponho diretrizes para o ensino de três módulos independentes que apresentam o objeto de estudo na sua relação com três fases estrutu-radas: 1) precedentes e antecedentes, aparência da forma de expressão; 2) emergência e experimentação; e 3) consolidação e possível institucionalização. Palavras-chave: documentário; meio digital interativo; documentário interativo; me-todologia de ensino.
---------------- Resumen: Este artículo presenta una propuesta metodológica original para estudiar y analizar el documental interactivo y transmedia. Propongo directrices para la en-señanza de tres módulos independientes que presentan el objeto de estudio en relación con tres fases estructuradas: (1) los antecedentes y antecedentes, la apariencia de la forma de expresión; (2) emergencia y experimentación; y (3) consolidación y posible institucionalización. Palabras clave: género documental; medio digital interactivo; documental interactivo; metodología de enseñanza.