INTERACTIVE DOCUMENTARY: New Ways to Tell Nonfiction Stories

1. Saint-Petersburg State University of Film and Television Faculty of Audiovisual Arts Interactive Art Department Prof. Dr. Nina Dvorko, Maria Sergeeva INTERACTIVE DOCUMENTARY: New Ways to Tell Nonfiction Stories AGREA MEDIA 2011

2. INTERACTIVE DOCUMENTARY: New Ways to Tell Nonfiction Stories “In every culture all around the world, storytelling is how people connect with one another. State-of-the-art technology will change, but state-of-the-heart storytelling will always be the same." - Sid Ganis, President of the Academy of Motion Picture A&S, 78th Academy Awards 2006.

3. INTERACTIVE DOCUMENTARY: New Ways to Tell Nonfiction Stories Virtual environments Educational Potential of New Media Digital Revolution Computer Games Interactive Film & Television Digital Generation Interactive Storytelling Theory & Practice Narrative Structure AI Systems Digital Media Mobile Platforms Multimedia Augmented Reality

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5. perceived story conceived story discourse interpretation expression MEDIUM RECIPIENT AUTHOR

6. INTERACTIVE DOCUMENTARY: New Ways to Tell Nonfiction Stories Key characteristics of digital media Interactive film (fiction, non-fiction) Interactive TV Interactive video Internet Multimedia Computer & video games Virtual Reality Systems Augmented Reality Systems Mobile devices Hybrid systems Narrativity Interactivity Immersion Hypermidiation

7. INTERACTIVE DOCUMENTARY: New Ways to Tell Nonfiction Stories Four modes of participation (Layers of Interactivity in Digital Text’ (Ryan, 2005). The users role in relation to their digital environment: 1. Peripheral Interactivity. The user exists outside the environment and all their actions are exploratory, affecting neither the predetermined story or the order of its presentation. 2. Interactivity affecting narrative discourse and presentation of the story. The user still exists outside the environment but their actions direct the order in which the content is shown. 3. Interactivity creating variations in a partly predefined story. The user exists inthe Environment, playing the role of a character for instance. Their actions progress them along a structured narrative with some freedom of exploration. 4. Real Time Story Generation. The user exists totally within the environment and the story is created in real time partly from the user and partly from the system.

8. INTERACTIVE DOCUMENTARY: New Ways to Tell Nonfiction Stories Nine possible structures for interactive narrative suggested Marie--‐Laurie Ryan. ‘Narrative as Virtual Reality’ Marie--‐Laurie Ryan (Ryan, 2001) The Vector with Side Branches The Maze The Directional Network The Network The Tree The Complete Graph The Action Space The Hidden Story The Multiple Storyline

9. INTERACTIVE DOCUMENTARY The Aspen Movie Map allows the user to ‘drive’ through the city of Aspen, Colorado by interacting with a virtual interface. 30 years of evolution 1978 2011 The Aspen Movie Map was a revolutionary hypermedia system developed at MIT by a team working with Andrew Lippman in 1978.

10. INTERACTIVE DOCUMENTARY 30 years of evolution 1978 2011

11. INTERACTIVE DOCUMENTARY VR REVOLUTION MOBILE REVOLUTION AI REVOLUTION DIGITAL REVOLUTION NARRATIVE REVOLUTION WEB REVOLUTION 1978 2011 Interactive narrative installations Online comics Hypervideo Computer games Cross-Media project Multimedia project AREnvironment Mobile-based narrative Interactive film Online storytelling Locative media VR Environment Interactive animation Interactive television

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