Après la distraction ou le travail collaboratif, je poursuis la série d'articles autour des nouvelles écritures en me penchant sur le temps. Narration et temps n'ont pas attendu les écritures inter...
"Chaque forme artistique a connu des innovations de fond ou de forme plaçant le temps au coeur de la création. Le roman joue avec le temps du récit, l’anticipation, l’uchronie… Le cinéma et la télévision exploitent le flash back ou forward, le récit en temps réel avec la série 24, le récit simultané de plusieurs histoires comme dans le film Timecode…
Et bien entendu les nouvelles écritures ne sont pas en reste. J’ai donc voulu tenter d’établir une petite typologie, probablement loin d’être exhaustive."
Interesting thoughts about time in relation to the use of an idoc
"Moderated by Lina Srivastava, the panelists include:
Christie Marchese, Founder and Executive Director; Picture Motion Kristen Fitzpatrick, Director, Public Exhibition & Acquisitions; Women Make Movies Alice Cook, Producer/Writer/Editor; When I Walk Dawn Porter, Director & Producer; Gideon's Army Marisa Jahn, Artist, Writer & Activist; New Day New Standard"
""Storytelling is like sex" wrote David Mamet, "everyone can do it, some of us are better at it than others."
After three years of studying non-fiction storytelling, and publishing a book and a magazine on the subject, in October 2013 I tweeted 50 things I've learned about storytelling, with the hashtag #story50. All fifty tips have been compiled and extended into this presentation."
"[IDFA] presented a diverse collection of speakers who demonstrated the range of activity on the frontier of interactive documentary: from the launch of a new documentary database, named _docubase, by MIT and Upian that seeks to archive, curate, and promote the wide variety of transient interactive gems, to demonstrations by (in)famous artists such as Vincent Morisset, Brent Hoff, Jonathan Harris, and Paolo Cirio.
"From journalists to filmmakers to game designers, media makers and the institutions that support them are leveraging their platforms to influence audiences. Increasingly we are being held accountable for our efforts. But how do you measure something as complex as social change?"
Welcome to 17000 Islands, an interactive experiment in documentary image making, and for its creators, […]
An experiment that makes the user feel the typical experience of an editor: many clips shot personally by the two directors are available , transforming the "user" from passive to active.
Each clip can be selected and recombined in a very personal way, allowing you to create your own "island". And of course there will never be an island like the other.
The islands "auteur" vision simply does not exist, the two authors are at the edges of this work. There are traces of them in the creation of the clip (point of view, camera movements, choice of subjects etc..) but otherwise they encourage others to make their own contribution.
This work reaffirms and develop the participatory genre (see "The Johnny Cash Project")
From the "old" documentary, the reality remains a substance to understand, to assemble...
A job essentially identical to that of the film editor.
That editor that often can not rely on nothing but the several shots and her own imagination.
An experiment in which innovation is not the non-linearity - typical of the editing phase - but consists of a role reversal. The filmmakers become camera operator, users become directors.
"As Fort McMoney is officially launching today at IDFA, we thought our i-Docs community would be interested in an exclusive interview with its director, David Dufresne (previously known for Prison Valley). Fort McMoney speaks of the environmental issues behind the oil industry through the language of a collaborative docu-game – an ambitious challenge that the NBF, Arte and Le Monde where happy to take on board.
In this interview David Dufresne tells us more about what pushed him to embrace such a new narrative style, the challenges he had to face during the production and the budget he had at his disposal."
Storytelling via the Internet needs a better name.
"Before climbing onto the project, Hollow’s producer Nathaniel Hansenand I had for a couple years asked ourselves a question, roughly:
is it even possible to produce interactive online cinematic content that maintains strong narrative and is as engaging as traditional forms of media?
Our assumption was that “interactive storytelling” on the web is like the wild west of non-fiction filmmaking, with very few rules, artists working to stake their claim, and unlimited virtual land up for grabs.
Yes, the technology is young, but it’s also a blank canvas, with endless possibilities. Further, because the Internet connects both individuals and technology across time and space, there’s a contextualized “hyper” element that no other medium can employ as cosmically among disparate communities and storytellers."
"Le webdoc, c'est un documentaire augmenté des techniques du web avec une préoccupation majeure : livrer au public une expérience de narration que la télévision classique ne permettrait pas de faire vivre !
Gamification, cohérence du récit, mise en avant des informations : comment construire un récit engageant le public tout en lui laissant le choix de sa narration ? "
"Digital stories are meant to be experienced. Four suggested ways to do so: by navigation, by allowing the user to do thing within the scene, by making the story personal and by playing a role. Examples of each."
"(...) Then along comes the Québécois ‘digital storytelling manifesto‘ suitably bi-lingual (great manifesto web page design too). Obligatory ten points.
A chip on the shoulder that I’d have to recognise, very not so much Canadian but a colonial syndrome where (like in Australia) we feel the need to have to sort of be pointed in saying we’re actually really good at this, but since we always look somewhere else for legitimation, we really aren’t going to let ourselves seriously claim that we’re that good at it. "
by Adrian Miles
Finally a (shrewd ) comment about the "Digital Storytelling Manifesto"
"A new buzzword is taking the stage: Transmedia. Is it just a new hype or the kind of revolution that is shaping the future of branding? Or as Brendan Harking, founder of Xmedia Lab stated: “We are looking to destroy and rebuild communication!”
My take away from the conference in Lausanne: Yes – The Transmedia philosophy is a must for any organization, that wants to communicate effectively in today’s environment, that is driven by digital media and social collaboration technologies."
Very interesting the part concerning the consumers(/audience) and of course the Orson Welles theory
"Over the past eight years, Sundance Institute’s New Frontier program has been building a community of brilliant creative minds from a broad range of artistic, scientific, and technology backgrounds, who are “geeked” about playing together in the story innovation sandbox.
Last month, the New Frontier Story Lab brought a fraction of that community to the ancient mountains of Utah to share what they’ve learned from their experiments and to help develop the visionary projects of our 2013 Fellows. "
The different skills synergy is winning.
Quote: "It was exciting to see them [storytellers] find collaborators from completely different fields of knowledge to work on new projects that will no doubt define the future of storytelling."
"Ce guide est votre point de départ. Il ne constitue que le premier pas d’un long chemin durant lequel vous devrez redécouvrir le plaisir d’apprendre et comprendre ces nouvelles techniques pour les mettre au service de vos histoires. Il est temps pour vous d’achever cette transition digitale
entamé à la fin des années 80 pour créer le photojournalisme de demain."