Documental Y Narrativa Transmedia

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Documental Y Narrativa Transmedia TESIS DOCTORAL documental US / 2015 y narrativa transmedia Estrategias creativas y modelos de producción Doctorando > Antonio García Jiménez / Director de la tesis > Enrique José Sánchez Oliveira Departamento de Comunicación Audiovisual y Publicidad Facultad de Comunicación AGRADECIMIENTOS Mi más sincero agradecimiento a Enrique Sánchez Oliveira, mi director de tesis, por su aportación directa, dedicación y disponibilidad y, sin orden alguno, por su apoyo y ánimos: a mi familia, Cristina, Manu, Isabel, Ángel, Julio, Virginia, Lucía y Frank. RESUMEN > | RESUMEN > DOCUMENTAL Y NARRATIVA TRANSMEDIA. ESTRATEGIAS CREATIVAS Y MODELOS DE PRODUCCIÓN Esta investigación, planteada como un recorrido a través de lo inmediato en el campo de las nuevas narrativas audiovisuales, tiene como objeto el acercamiento, desde una actitud analítica, al universo relacional existente entre el documental y la narrativa transmedia en el contexto de la convergencia mediática; y desde ahí, abundar en la emergencia y prácticas de la actual producción transmedia documental y sus distintas estrategias creativas y modelos de producción empleados. A su vez, este trabajo, estudia los principales cambios operados en el seno del documental contemporáneo a partir del surgimiento y cristalización de nuevas formas y estrategias documentales, así como de las distintas retóricas que se insertan en el escenario mediático digital, siempre en constante mutación, resultado de la hibridación entre tecnología y creación. Es así como dentro de este territorio mestizo del denominado “cine de lo real” contemporáneo, nos encontramos con etiquetas de nuevas tendencias y formatos (que van desde el mockumentary al documental expandido, entre otros, hasta llegar al documental interactivo como último género consolidado) y con toda una batería de procedimientos formales y estrategias retóricas que articulan una onda expansiva de asombrosa libertad creativa para conformar nuevas estéticas, capaces de reconfigurar dispositivos documentales de representación y enunciación tan diversos como sugerentes. En este marco, del cual se realiza una suerte de taxonomía de sus rasgos y formatos más significativos, emerge la narrativa transmedia vinculada a lo real, al documental, con su expansión del relato en distintos medios y plataformas. Tras el establecimiento de conceptualizaciones asociadas a la narrativa transmedia, se abunda en cómo opera ésta en el seno de la producción de ficción y en el propio de la producción documental, para establecer los principios que constituyen esta realidad, en permanente estado de construcción, por parte de los consumidores, así como en sus modos y procesos de producción. Palabras clave: documental, transmedia, cross-media, interactividad, cultura de la convergencia, nuevos medios, documental interactivo, producción transmedia documental, prosumidor, comunidad de fans. | RESUMEN > DOCUMENTAL Y NARRATIVA TRANSMEDIA. ESTRATEGIAS CREATIVAS Y MODELOS DE PRODUCCIÓN ABSTRACT The object of this research, set out as a study of the current situation in the field of the new audiovisual narrative techniques, is to approach, from an analytical point of view, the relational universe that connects the documentary with the transmedia narrative in the context of media convergence, and thence study in greater depth the emergence and practice of contemporary transmedia documentary production and the different creative strategies and production models employed therein. This study also analyses the important changes that have taken place in the field of the contemporary documentary with the rise and increasing implementation of new documentary forms and strategies as well as the different strategies of rhetoric that have evolved in the realm of digital media, exposed to constant change due to the hybridization of technology and the act of creation. In this hybrid territory of what is now termed the contemporary “cinema of the real”, we thus find tags of new tendencies and formats (from the “mockumentary” to the expanded documentary, among others, leading to the latest genre to be consolidated up to now, the interactive documentary) with a wide range of formal procedures and rhetorical strategies that articulate a huge wave of astonishing creative freedom, all serving to constitute new aesthetics that manage to reshape the documentary devices of representation and narrative in a way that is both diverse and suggestive. In this context, whose most important features and formats will be the object of a detailed taxonomy, we will see the emergence of transmedia narrative linked to reality, to the documentary, with its storytelling strategy expanding into different medias and platforms. After establishing the conceptualizations associated with transmedia narrative, an analysis is undertaken of how it operates in the area of movie production as well as in the area of documentary production, in order to establish the principles that make up this reality in a permanent state of construction, both by the consumer and by the means and methods of production. Key words: documentary, transmedia, cross-media, interactivity, culture of convergence, new media, interactive documentary, transmedia documentary production, prosumer, fan community. ÍNDICE > DEL DOCUMENTAL | INDICE > DOCUMENTAL Y NARRATIVA TRANSMEDIA. ESTRATEGIAS CREATIVAS Y MODELOS DE PRODUCCIÓN CAP. I INTRODUCCIÓN. 1 1_Contexto de la investigación. 2 2 1.1. Planteamiento inicial de investigación. 1.2. Hipótesis de investigación y pregunta inicial. 5 2_ Objeto de estudio. Objetivos y preguntas de la investigación. 7 2.1. Delimitación del objeto de estudio. 7 2.2. Objetivos de la investigación. 8 2.3. Preguntas de investigación. 9 3_ Metodología y conceptos básicos de la investigación. 11 3.1. Metodología y estructura de la tesis. 11 3.1.1. Documental contemporáneo. 11 3.1.2. Narrativa transmedia. 12 3.2. Breve descripción de los capítulos y otras cuestiones preliminares. 13 3.3. Aportaciones originales. 15 CAP. II EL DOCUMENTAL CONTEMPORÁNEO, UN TERRITORIO DE 1 HIBRIDACIÓN NARRATIVA Y CREATIVA. 17 1_ Contextualización histórica de las teorías del documental. 18 1.1. Un recorrido por las definiciones y teorías del documental 18 1.1.1. Acercamientos al documental desde la práctica. 19 1.1.2. Aproximaciones teóricas al documental. 24 1.2. Categorizaciones del documental. 32 1.2.1. Las modalidades del documental de Bill Nichols. 33 1.2.2. Las voces del documental de Carl Plantinga. 38 1.2.3. Los modos de deseo de Renov. 41 2_ El documental en el universo digital: hibridación tecnológica | INDICE > DOCUMENTAL Y NARRATIVA TRANSMEDIA. ESTRATEGIAS CREATIVAS Y MODELOS DE PRODUCCIÓN narrativa y creativa. 43 2.1. Las coordenadas de la hibridación tecnológica. 47 2.1.1. La democratización del documental. 48 2.1.2. La realidad como archivo virtual: la realidad archivada. 52 2.1.3. Interactividad, multimodalidad y entornos colaborativos. 53 1.1.3. 2.2. La topografía de la hibridación narrativa. 59 2.2.1 Interacciones con lo real. 59 2.2.2 La hibridación de ficción y documental. 64 2.2.3 La subjetivización del documental. 69 2.2.4 La postproducción de la realidad. Apropiacionismo y metraje encontrado. 74 2.2.5 El documentalismo: el documental en la periferia de las prácticas 78 artísticas. 2.2.6 El documental sin autor. 84 2.3. El mapa de la hibridación creativa. Reciclajes y mestizajes en la estética 87 documental. 2.3.1. La enunciación como principio de veracidad. 88 2.3.2. El pacto con el espectador. 92 2.3.3. La espeleología de lo cotidiano. 96 2.3.4. El work in progress como estrategia discursiva o la reflexividad como 99 expresión del propio formato. 2.3.5. La valorización de la imagen amateur y el acercamiento a realidad desde la 105 hiperrealidad. 2.3.6. El canibalismo apropiacionista y el encubrimiento-descubrimiento de lo 106 referencial 2.3.7. El humor como principio organizador o elemento dinamizador (y 108 dinamitador) 3. Hacia una categorización tipológica del documental contemporáneo. 111 3.1. El falso documental. 112 3.2. El cine ensayo. 115 3.3. Found footage documentary o cine de metraje encontrado. 117 3.4. Cine-diario, documental autobiográfico y film familiar. 119 3.5. La etnografía experimental. 125 3.6. El documental expandido y escarceos de la imagen documental en el live 128 cinema. | INDICE > DOCUMENTAL Y NARRATIVA TRANSMEDIA. ESTRATEGIAS CREATIVAS Y MODELOS DE PRODUCCIÓN 3.7. El documental animado. 133 3.8. Rockumentary. 136 CAP. III NARRATIVA TRANSMEDIA. 145 1_ Hacia una cartografía terminológica. 149 1.1. Sobre nuevos media, media ecosystem y los procesos de la cultura de la 150 convergencia. 1.1.1. La contraposición entre viejos y nuevos “media”. 150 1.1.2. ¿Qué tienen de nuevo los “nuevos media”? 152 1.1.3. El revival del “media ecosystem”. 157 1.1.4. ¿El medio es el canal o es el interfaz? 160 1.1.5. El contexto de la cultura de la convergencia. 162 1.1.6. La convergencia mediática. 162 1.1.7. Extensión, sinergia y franquicia. 163 1.1.8. Sobre la cultura participativa e inteligencia colectiva. 164 1.1.9. Públicos y fans. 166 1.2. Intertextualidad e hipertextualidad. 169 1.2.1. Sobre las teorías de la intertextualidad 169 1.2.2. Conceptualización de hipertextualidad 171 1.3. Cross-media y transmedia. 176 1.3.1. Algunos debates conceptuales sobre cross-media vs transmedia. 176 1.3.2. Acerca de las acepciones de cross-media. 180 1.3.3. Definiciones del concepto transmedia. 185 1.3.4. De adaptaciones, “obras seminales” y “obras núcleo”. 188 1.3.5. Características básicas de las narración transmedia. 193 4.1. Interactividad y participación. 196 2_Transmedia Storytelling o el arte de crear mundos. 203 2.1. El concepto de Transmedia Storytelling. 203 2.2. Principios del Transmedia Storytelling. 205 2.3. La narración transmedia: el mundo como componente estructural. 212 3_ Estrategias creativas de la narración transmedia 216 3.1. Recursos contextualizadores del diseño transmedia. 216 | INDICE > DOCUMENTAL Y NARRATIVA TRANSMEDIA. ESTRATEGIAS CREATIVAS Y MODELOS DE PRODUCCIÓN 3.2. Premisas para el diseño de modelos transmedia. 219 3.3. El relato poliédrico o la historia amplificada. 221 3.4.
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