Luisina Pozzo Ardizzi

An interactive documentary is by definition a changing platform: open and flexible. A project that uses not only video, photography and audio -like traditional Documentaries-, but a complete set of new media tools that changes completely the way the stories are told: non - linear, user driven, collaborative: changing completely the form from the creation to the delivery or launching.

Favourite project:Out of sight, out of mind. (

Arnau Gifreu

Thanks for your contribution Luisina! I agree that new media forms of expression are able to change the way stories are told...and certainly interactive documentary is challenging the way we tell stories in the XXI Century.

Ruben Mir Ugolini

Interactive documentary is all about user decision. The author/s can construct an universe where the user can choose to explore it in many different ways. To design an appropriate and usable interface and a confortable workflow for the users, paying attention in all the steps that can be done, is to give them power. Not a passive watching anymore. We are not readers, listeners or viewers anymore. As users, we use it. It's a new paradigm: as we can see, the unidirectional way of communication has changed in the new media. And the interactive documentary is born in the digital era, growing up with new networks of people and content, that can mix all the narrative ways that we have known until now. Author's proposition, User's choice.

Favourite project:Out my window (

Arnau Gifreu

Thanks for your contribution Rubén! User journey is key in i-docs, it's about choices and the result of that options we choose as part of the narrative. We are no longer simply watching and reflecting on a specific topic, but playing, learning and sharing at the same time, so the possibilities are endless (and the risk to become saturated or end in the middle of nowhere as user is bigger as well)

Max Schleser

Engagement with storytelling in ways appropriate to the narrative / non-narrative construct and the opportunity to recognise audiences.

Favourite project:24Frames 24Hours (

Arnau Gifreu

Thanks for your contribution Max! Certainly precise your definition, I really like it.

Sandra Gaudenzi

an interactive documentary is a dynamic and relational entity: it has its form, its internal organisation, its way to behave and to react with what gets on contact with it - so effectively it has its own identity, like any living entity. I like to think about i-docs as a living form that exist through the interactivity with its environment (and we, humans, are part of the environment, but so are protocols, wires, servers, computer mouses and screens).

Favourite project: Rider Spoke by Blast Theory (

Arnau Gifreu

Thanks for your contribution Sandra! We have been discussing so many times about the impossibility of giving an accurate definition, right Sandra? But if one person could dare to define this form of expression, it's you, no doubt about that. So thank you very much for opening the field and be one of the key researchers in this little but exciting field!

Anna Wiehl

I personally do not believe that there is such a 'thing' or 'phenomenon' as 'AN' interactive documentary as this would imply that the field is homogeneous, can be clearly mapped and defined; and moreover, I am also more and more wondering whether 'interactive' documentary – a term which was applied to the first projects that we are interested in – is really the appropriate adjective to describe the currently emerging so much wider spectrum of documentary practices. Especially as to my first resentment against thinking of a clearly shaped corpus of 'interactive documentary' projects, at i-Docs Symposium 2016 I was happy to meet so many scholars, practitioners, artists and commissioners, who were coming from all kinds of disciplines and directions. This made me realize how large the 'scientific community' (or rather 'family') is – but that we sometimes maybe do not recognize our siblings. What about – for example – the potential of VR in this field? What about intersections of (not only) digital journalism and 'interactive' documentary such as in projects such New York Times' often cited paradigmatic Snowfall? Or if we think of 'interactive documentary' as living archives? One paradigmatic project here is in my eyes Filming Revolution by Alisa Lebow. What, if we consider emerging documentary practices which tackle issues from a post-human, post-anthropocene perspective? What about projects that are certainly documentary, that are indisputably based on digital technologies but that so far have rather been considered as practices of artistic research, such as BUZZ, a project exploring 'participative practicing'? What about the use of 'new media' for socio-political change by means of 'documenting', sharing and discussing political uprisings, creative disobedience or just (hyper-)local campaigns – explored for example in Everyday Rebellion by the Riahi brothers? What about documentary games, ambient, non-fictional storytelling, life-logging, data-mining for documentary purposes, …. a list to be certainly completed, especially as the field keeps diversifying! As to the second terminological uncertainty, I think we still have to figure out what we mean by 'interaction'. In my opinion, this interaction does not necessarily have to be restricted to the realms of digital interaction. I'd rather suggest that we also start to pay a bit more attention to the potential 'real-life' interaction, taking into account new forms of materiality, and that we start considering embodiment and sensual, especially tactile experience, too. Please do not misunderstand me! I do neither plea for opening up the sphere indefinitely, which would certainly not serve the issue – it would rather end up in randomness; nor do I discard Sandra Gaudenzi's important note on that the common denominator that links the projects in our field is that they are moving within "the intersection digital interactive technology and documentary practice" and that in which "audience become active agents within documentary". And in fact, the site also discusses projects that are also described as web-docs, transmedia documentaries, serious games, cross-platform docs, locative docs, docu-games, pervasive media, and so on. However, I do have objections to pin down the 'nature' of THE interactive documentary'. I reject boxing myself into one train of thought. Rather, I'd like to keep constantly 'zooming in' and 'zooming out' to find as many siblings of my 'open emerging documentary family' and to start fruitful exchange with far-related 'cousins', too. This said, I am very sorry – but I cannot name ONE favourite project as this – again! – would restrict thinking of emerging documentary practices to one kind of phenomenon.

Arnau Gifreu

Thanks for your contribution Anna! I agree, maybe the right word to define this sort of productions has been not found yet, but we are on the go for sure. And to me it's not so important (the important things are business model, new ways of storytelling, the role of the author, well, have a look at the 3rd season on the documentary series). The i-Docs Symposium 2016 was an incredible event were we realised -once more- that both scholars, producers and curators are coming from differents fields, and that's the real richness of this area which is challenging the boundaries of real and unreal, fiction and nonfiction all the time.

Iván Sánchez López

Un cajón de sastre para categorizar un fenómeno que se nos escapa conceptualmente. Con una raíz documental fundamentada en el apego de la narrativa del “contador” o “contadora” a la no ficción – es más fácil recurrir al descarte que al aforismo “realidad” cuando nos adentramos en el campo mediático – y un adjetivo que, en su forma de modismo contemporáneo, recoge toda práctica relacionada con el universo digital y sus potencialidades. Eso, desde una reflexión conceptual. Como experiencia personal, un asalto a mis formas de escuchar, leer, ver, usar, comprender y participar. Una identidad nueva. Y un universo infinito por crear.

Favourite project: Traque interdite(