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Interactive Documentary

This article provides a timeline of what interactive documentaries (i-docs) are, where they come from and what they could become. The audience for the article is anyone who is interested in exploring interactive documentaries and anyone in the media industries who might encounter documentaries. The article demonstrated that interactive media helps to create a relationship between users and technology. It is clearly distinguished between the contemporary form of i-docs and other artistic forms of interactive documentary. As for the validity of the article, the author is Sandra Gaudenzi and Judith Aston who are leading experts. Dr Sandra Gaudenzi is an expert in interactive narratives. She is Senior Lecturer at the University of Westminster in the new Digital and Interactive Storytelling LAB – a place to explore, experiment and excel in the storytelling forms of our digital culture.

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Key Definitions
1. The conversational mode- is a type of interactivity that wants to replicate the interaction between two human beings. In this mode of interactive documentary, reality is not objective as it is created by an apparently limitless number of scenarios.

2. The Hypertext mode- Hypertext mode is interactive relationship between the user and the documentary. It is based on the investigation of a finite database of audio-visual content. Hypertext interactive documentary are divided in segments which have been pre-determined by the author and stored.

3. The Participative mode- Participative mode requires a direct engagement from the user mode, the user becomes a part of the events. Participative mode expects a specific form of inter-action from the user.

4. The Experiential mode- Is a process whereby the user learns through there experiences.

5. Idocs –

Media Content

Practice based solutions
The proposed practice-based solution is to give the public of Northern Ireland a set of questions about Ireland and record their response. Once the responses have been recorded use a split screen and play the different responses alongside each other, so this is taking participative mode from the article into action as the it is using people’s opinions.
Motions Graphics
The motions graphics article looks at how viewers interact with motion graphics. The article is based around two theories which are theory of naïve realism and cognitive load theory. Each theory describes aspects of the motion graphic viewing experience. The article was showing how viewing motion graphics from naïve realism theory point of view affected the motion graphics. The point of the article was to figure out how individuals respond to large amounts of detail. The motion graphics was broken into two levels of fidelity which are high and low. The individuals were researched on how they were able to process information based on their experience to sequences of graphics. The author is Dr. Spencer Barnes Assistant Professor School of Media and Journalism University of North Carolina at Chapel Hill. He has written many articles on motion graphics for example studies in the efficacy of motion graphics: The impact of narrative structure on exposition. Digital Journalism. The audience for this article would be anyone interested in cognitive load theory like physiologists or anyone in the media industry who is interest in motion graphics like a graphic designer.

Key Definition
Cognitive load- Cognitive Load Theory (CLT) is an instructional design theory that reflects the way in which our minds process information
Motion graphics- Motion graphics is animation which create the illusion of motion, and are usually combined with audio for use in multimedia projects
Naïve realism- Naïve realism originated from cognitive physiology, it focuses on people’s interactions with visual stimulation like motion graphics. There are three important variables when talking about Naïve realism.
Visual effects- is the process by which images are created or manipulated outside the context of a live action shot in film making
Practice based solution…..
Selfies Visual Cultures
This article looks at the cultural appeal with social media forms, known as “sel?es,”. The article pays interest in the self-imaging strategies of young women in their teens and early 20s. It demonstrates how social media sites like Instagram and Facebook have become a powerful means for self-expression, encouraging its makers to share the most intimate and private moments of their lives. The article also looks at how the impact of technology and social media to broadcast and share images. The article looks at whether the idea of taking selfies is for aesthetics and narcissism or if there is a political value behind the imagery. The target audience for this article is feminists who are interested in issues in contemporary society and media students who are interested in social media and it’s affects. The article was written by Derek Conrad Murray he is an interdisciplinary theorist specialising in the history, theory and criticism of contemporary art and visual culture.
Key Definitions
Selfie- A photograph that one has taken of themselves, typically taken with a smartphone or webcam and shared via social media
Visual Culture- Visual culture is when you express yourself or aspects of culture using visual images.
Male Gaze- The male gaze is the act of portraying women and the world, in the view from a male heterosexual perspective that presents and represents women as sexual objects for the pleasure of the male viewer.
Female Gaze – The female gaze is a response to the male gaze from a feminist named Laura Mulvey’s. The female gaze is about presenting views and perspectives that reflect women’s attitudes in society.

Practice Based Solution
Augmented Reality
This paper investigates how the practice of vision constructed through a locative-based augmented reality (AR) browser creates and reveals values and meanings connected to geographies of the place. The paper uses the cultural consciousness formed from the legacy of the Titanic. They develop an augmented reality that contains historic photographs of Titanic with the modern-day view of the Belfast shipyard in which the ship was built, this is to explore the narrative reason of what is seen and understood through the AR browser. The paper demonstrates how the reader enters the world of the author’s experience. The audience for the paper would be anyone who is interested in augmented reality and the experiences that it can provide for its audiences. The validity of the paper does not come into question as the author is a Senior Lecturer in Interactive Media at the School of Media, Film and Journalism, and researcher at the Centre for Media Research, Ulster University, Northern Ireland. The author has also received international awards, involves practice-led enquiry into the cultural, economic and social impact of emerging media in contemporary visual cultures.
Key Definitions
Augmented reality -Augmented reality often abbreviated to AR is a collaborating experience of a real-world environment whereby the objects that exist in the real-world are “augmented” by computer-generated perceptual information, sometimes across multiple sensory modalities.
Photography- Photography is the art. Photography can be taken either electronically by means of an image sensor camera, or chemically by means of a light-sensitive material such as photographic film.
Autoethnography- Autoethnography is a form of research. It is a self-reflective form of writing used across multiple disciplines such as communication studies, education, English literature and anthropology. Autoethnography focuses on the subject’s experience.
Titanic-The Titanic was a British passenger liner that sank in the North Atlantic Ocean, after colliding with an iceberg during its maiden voyage from Southampton to New York City
Media Content

Practice based solution

Fake News Paper
This article explores the 2016 U.S. presidential election. The article looks at the spread of misinformation and the willing engagement of mainstream media to perpetuate biased. The article shows how frame can be obtained through spreadable media because citizens could express their opinions online which expanded the media display of the U.S. presidential elections. The author Paul Mihailidis has featured in the New York Times, the Washington Post, Slate Magazine and others. Mihailidis oversees a program that gathers over 60 students and a dozen faculty from five continents for three weeks every summer to create multimedia media literacy products that are used in over 100 countries around the world.
Key Definitions
Mainstream – Mainstream media is a term referring to television networks (especially broadcast), newspapers, magazines, radio, and often the movie industry.
Spreadable media- Spreadable media looks at fundamental maps in modern media environment. Spreadable media is when the media corporations cannot control the media distribution so tightly and many members of the public get involved in circulating the content.
Memes- A meme is a virally-transmitted symbol or social idea. Most modern memes are captioned photos that are intended to be funny, often to publicly ridicule the way someone has acted
Fake News- Fake news is the deliberate misinformation spread by news media and usually seen across social media websites.
Social Media- Social media can be defined as websites and applications that allow users to create and share content while also allowing people to social network. Social media is usually defined by most people as apps on their smartphones

Practice based Solution

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