Week 10

Dovey, Jon, and Mandy Rose. “We’re Happy and We Know It: Documentary, Data, Montage.” Studies in Documentary Film 6.2 (2012): 159–173

In this article Rose and Dovey set out to establish that there is a new type of interactive media continually evolving and being developed. They state that this new form of interactive media is offering the opportunity for media makers to create a new and unmatched experience. Through the article they make a few references to the capabilities of this new media which, will have the power to create utter chaos. Launch or destroy industries, target high powered profiles or even give power to society. They explain how data is comparable to the sea. as both data and sea are limitless and partially unexplored.

I like this reading as it gives us, the media creators a sense of world power. This sounds funny, but when you put some thought into it and implement some of these tools great good or damage could be done.

Week 9

Luers, Will. “Plotting the Database.” Database | Narrative | Archive: Seven Interactive Essays on Digital Nonlinear Storytelling. Ed. Matt Soar and Monika Gagnon. N. p., 2013. Web.

In this reading, Will Luer discusses the features of a database narrative through “Plotting the Database”, published in 2012. Different database narratives such as entry points are explained throughout the article. There are 8 sections that will uses to explain how different elements are used and together create a more engaging piece of work.

Some of what he says is really interesting as we can relate it back to what we are working on at school. He says that the entry points set the tone for the rest of the database narrative, and this takes impact on how I would proceed with new korsakow projects. With korsakow the customization options are limited but give us enough options to reflect the tone of our project with simple tools such as selecting the start and end SNU.

Week 7

  • Frankham, Bettina Louise. “Complexity, Flux and Webs of Connection.” A Poetic Approach to Documentary : Discomfort of Form, Rhetorical Strategies and Aesthetic Experience. (2013): PhD Dissertation, University of Technology Sydney.

    Through this article, Frankham explains how lists alienate the elements of a project and how by having links between elements create something a lot more complex then may have been intended. She says that this style of project should be directed towards online exhibition beyond linear narratives as they allow interactivity between the user and creator. When using this with Korsakow, she explains how you can use web-docs as a sort of montage to create a more complex system linking discrete objects. She explains how multiple connections can create a more interesting documentary with different possible outcomes.

    I likes the way this document explains the pro’s and the cons of having a link element like koraskow. It demonstrates how we can use these tools to our advantage. Frankham proposes that interactive web-docs can be seen as more active and present form of creating media as more of a thinking process.



SOAR Soar, Matt. “Making (with) the Korsakow System: Database Documentaries as Articulation and Assemblage.” New Documentary Ecologies Emerging Platforms, Practices and Discourses. Ed. Kate Nash, Craig Hight, and Catherine Summerhayes. Palgrave Macmillan, 2014. 154–73.

This Reading was very interesting to me as I had a great amount of fun playing with Korakow and was intrigued with what other thought about it. It raises a great point on what might the future reserve for Korsakow and with a forever evolving world how it currently faces difficulties when trying to use it on other devices that standard computers. The fact that CD’s are also going out of business and are no longer a part of modern laptops also influence what might happen with such programs.

Through the reading there is a clear understanding of how Korsakow is a form of argument and expression. Giving the creator the possibilities to touch the end user with deeper interactions. Soar quotes Manovich, who, gives a great understanding of how important a logical decision can be and how it will determine the ways in which each clip will be matched to create a relationship between each other. And as a media student, I can directly relate to this and use it in future projects.

After finishing the reading, it was great to get a better understanding of the different uses of Korsakow, how to include different ideas and raise points are we progress through the K-Film.


Rascaroli, Laura. “The Essay Film: Problems, Definitions, Textual Commitments.” Framework: The Journal of Cinema and Media 49.2 (2008): 24–47.

In this reading the author Rascaroli explains how there is a continuous and increasing frequency of the essay film. Mainly due to the amount of personal, reflective and new documentaries. Even given that the essay film is immensely popular in many ways. Rascaroli says that is is a type of film that is under theorized because of its dominance of non-fiction films.

Rascaroli continues to show all types of conflicting definitions of film essays and how they are from other theorists before her. It is strange because in a certain way it contradicts her own writing, but I believe that by challenging her own work she will push others to raise questions in the future. At the end of the day, despite all the information given the definition of what is essay film is, is unclear until a theory will prove it.


Ryan, Marie-Laure. Avatars of Story. Minneapolis: University of Minnesota Press, 2006

In this article, Marie-Laure Ryan describes what makes up a narrative. It is then summarized in a list form. The Summary explains how narrative is the textual realization of story, and that the story itself is a narrative in a virtual form. By seeing things from this perspective it pushes me to think more effectively about the relationship between the two and how narrative is different from other text types due to its power to tell stories to the mind. However, even given all of these option Ryan still raises the point the no one can ever be sure that the text is going to be read in the exact way that we wrote it, despite trying to implement and use every tool available.


Sørenssen, Bjørn. “Digital Video and Alexandre Astruc’s Caméra-Stylo: The New Avant-Garde in Documentary Realized?” Studies in Documentary Film 2.1 (2008): 47–59. EBSCOhost. Web. 19 Sept. 2013.

…with the development of 16mm and television, the day is not far off when everyone will possess a projector, will go to the local bookstore and hire films written on any subject, of any form, from literary criticism and novels to mathematics, history, and general science. From that moment on, it will no longer be possible to speak of the cinema. There will be several cinemas just as today there are several literatures, for the cinema, like literature, is not so much a particular art as a language which can express any sphere of thought.

(Astruc in Graham 1968: 19)


Being very interested in technology myself, I find it almost amazing how accurate Astruc’s prediction was. It’s as if I said “In 10 years, we will have microwaves that make food appear” (although I’m no specialist in microwaves) and not just to the point where we can hire movies like books from a library, the fact that cinema has reached a point where you can find a movie about anything, it’s not just limited to holywood movies anymore.

That said, I have a very split opinion on this.

The accessibility of movies has gone far beyond having to go to a cinema or even renting a dvd at any type of store, we now have access to films many more convenient ways. We can rent our movies off the internet, watch them on our portable supercomputer (smartphone) and even through rectangular black boxes hooked up to our TV made initially to play videogames on. Personally I love it, on a wet winter day I don’t even have to go out anymore, I have access to everything at arm’s reach. The negative side of this is that I believe more and more movies are being made purely for profits with no real story just a catchy title, interesting movie trailer and a million dollar advertising campaign.


Throughout the article Bjørn Sørenssen quotes and writes about how movie making equipment is reaching a stage where anyone can make a movie, from high en smartphones to decent camera’s most of us have good quality filming equipment at reach, and the same goes for distribution. I could make a movie and post it up on internet. But I am yet to see a cinema standard movie made by someone like me and you. There are many home made movies on the web, unfortunately none of which I have thought to myself “I should watch this on a larger screen, and maybe get some popcorn”.


So what’s missing? Better Acting, Filming, Script


“Interactive Documentary: Setting the Field.” Studies in Documentary Film 6.2 (2012): 125–139

An interactive document or I-Doc is a platform that allows information to flow between both the author of the document and the end user in an interactive way. This view of interactivity requires a physical action to take place between the user/participant and the digital artefact. It involves a human computer interface that creates a personalized document for the user to interact with creating a deeper and more memorable experience.

I-Doc’s are primarily presented with four different interactive modes, Conversational, Hypertext, Participative and Experimental.

The conversational, This type of I-doc, uses 3D worlds to create an apparently seamless interaction with the user, lends itself to the Conversational mode because it positions the user as if ‘in conversation’ with the computer. It is also often seen in video games, It gives the user the possibility to explore freely the created 3D world also called sandbox. The user is virtually thrown into a world which they can explore and interact with.

The hypertext type of I-Doc interacts with the end user in a “Click here, go There” way. This is organised though a closed database of video clips where the user can browse the suggested videos by clicking on different hyperlinks. This gives the user an exploratory role not as open as the “Conversational mode” as the end user can only chose between pre-existing options.

The participative mode is very well described in its name, It requires the user to take part in the development of the product. The user takes part in an open and evolving database giving their part though the I-Doc. As the participative mode is used during production the information gathered directly impact the end result. Users may be involved and help launch the product, translate it or even take part in the filming process.

The experiential mode combines both the virtual and physical world. These I-Doc’s are often location based feeding the end user information customised to where they are. This creates an experience that challenges the user’s senses and their enacted perception of the world.


I believe that both makers and audiences should use I-Doc’s to their full potential as it is an excellent way for the “Makers” to gather important information and for the “Audiences” to feel involved and a part of something. That said the Makers have to keep in mind that not all information gathered from these documents is exact as there are many things impacting the end users decisions depending on I-Doc Mode/Type. Commonly seen the end user may often choose a certain path not based on what they really want but on what they would like someone to choose (ie. For lunch chose to eat fast food, but if someone walked up to me and asked what should they eat I would suggest something healthier). Depending on which type of I-Doc is used, location and the end users awareness about the subject will also impact the decisions taken

As long as this is taken into consideration and the correct type of I-Doc is chosen I believe that the implementation of an interactive document is a must for many projects to reach the level of success desired.