Sanchez-Laws, A. (2010). Digital storytelling as an emerging documentary form. Vol 6. Bergen: Seminar.net, 359-366. viewed 31 July 2016, http://seminar.net/images/stories/vol6-issue3/Sanchez-Laws_Digitalstorytellingasanemergingdocumentaryform.pdf
Sanchez-Laws is a PhD in the Department of Science and Media Studies at the University of Bergen, presents the concept of studying digital storytelling through the scope of documentary. Analysing the forms of storytelling and comparing them to the characterization of documentaries. Through this comparison of multiple storytelling methods it is possible to argue that there is a correspondence between digital storytelling and documentary filmmaking contextually. Defining the ability of digital storytelling as personal, short and public, Sanchez-Laws dissects further to concur that this mode of storytelling diverges into two components: the practitioner and the product. Her evidence discovers that while the product falls under the bellcurve of standards required for documentaries, the practitioners are considered amateurs in contrast and therefore places more pressure on the storytelling process. She highlights the process as one that links generations and communities, one that focuses on a more personal aspect in preference to a contract with the public that provides truthful storytelling found in documentaries. On further extrapolation, new digital media practices are presented as a dynamic new medium that has provided a platform for audience members and viewers. In this knowledge then brings new relationships that develops an essential point of discussion; emphasising the importance for professional creators to acknowledge amateur creators. The negative aspects of autobiographical documentary is further highlighted as Sanchez-Laws questions the authenticity of this storytelling method and it’s moral ambiguity that’s involved. While this report provides an evenly skewed opinion on both digital storytelling and it’s comparison to traditional documentary, it lacked information on digital mediums – despite lighting touching on this topic.
Ashton, J. Gaudenzi, S. (2012). Interactive Documentary: Setting the Field. Vol. 6. Bristol: Intellect Limited, 125-139. Viewed 1 August 2016, http://docserver.ingentaconnect.com.ezproxy.lib.rmit.edu.au/deliver/connect/routledg/17503280/v6n2/s2.pdf?expires=1470140028&id=88304110&titleid=75007871&accname=Royal+Melbourne+Institute+of+Technology+%28RMIT%29&checksum=DCD8EF7366A24A690C25DF492B306BEE
Ashton from the University of the West of England along with Gaudenzi from the University of the Arts London collaborate in this article to focus on i-Docs, a new form of interactive documentary making. Their research brings a bundle of discussion points on the multi-faceted process involved with developing and making an i-Doc, along with it’s impact on traditional documentaries. The article presents i-Doc’s as an innovative form of storytelling, not to be tossed aside or considered fiction due to it’s interactive nature and digital realm. Defining i-Doc as any document built on a digital platform with an intention to be real or true, this broad term acknowledges that interactivity dives beyond the presentation of information but rather the viewer is dispensed in the product itself. Gaudenzi notes four different interactive modes discovered in an i-Doc: conversational, hypertext, participative and experiential. Emphasising the importance of each mode – as they all provide users with a particular reality, this provides a plethora of ranges and perspectives regarding a single topic or issue. Despite some ever-present debates with interaction design, narrative fluidity and the degree of interaction, practitioners are already aware of the rising medium and it’s consumers. Similar to Sanchez-Law’s report, Ashton and Gaudenzi both believe that interactivity provides an balanced perspective for audiences without the domineering voice usually present in a regular documentary. While i-Doc’s are still evolving in today’s digital universe the article strong encourages any creators to collaborate together to nurture this platform of storytelling.
O’Flynn, S. (2012). Documentary’s metamorphic form: Webdoc, interactive, transmedia, participatory and beyond. Vol 6. Toronto: Intellect Limited, 141-157. Viewed 1 August 2016, http://docserver.ingentaconnect.com.ezproxy.lib.rmit.edu.au/deliver/connect/routledg/17503280/v6n2/s3.pdf?expires=1470140064&id=88304120&titleid=75007871&accname=Royal+Melbourne+Institute+of+Technology+%28RMIT%29&checksum=65384BA48722709CB62BD16B81295485
Rosenstein, J. (2005). Documentary Filmmakers Speak/Documentary Storytelling For Film and Videomakers. Issue 2. Columbia:Association for Education in Journalism and Mass Communication, 226-229. Viewed 31 July 2016, http://search.proquest.com.ezproxy.lib.rmit.edu.au/docview/215288830/fulltext/8DCD8FDA284B487CPQ/1?accountid=13552