Villaplana-Ruiz, Virginia (2016): “Remix Europe. Discourse and practices. Collaborative Cinema or Network-produced Cinema. Participatory Transmedia Formats in the European Digital space”. En Margarita Ledo Andión (ed). Finland, Galicia, Wales. The challenges of small cinemas in non hegemonic languages. pp. 183 - 221. Santiago de Compostela , Galicia (España): GEA-Universidad de Santiago de Compostela, 2016. ISBN 978-84-16121-41-0. Proyecto I+D+i HACIA EL ESPACIO DIGITAL EUROPEO: EL PAPEL DE LAS CINEMATOGRAFÍAS PEQUEÑAS EN VERSIÓN ORIGINAL, REFERENCIA: CSO2012-35784. Colaboran las universidades Paris 8.
Towards the European Digital Space: The Role of Small Film-making in Original Version. CSO2012-35784. National Program for RDI
Remix Europe. Discourse and practices. Collaborative Cinema or Network- produced Cinema. Participatory Transmedia Formats in the European Digital Space
Virginia Villaplana Ruiz1 University of Murcia. Communication and Documentation Department [email protected]
Summary: This report investigates the new landscape of practices and discourse shaped by collaborative or network-produced cinema in the European digital space. It is organized around three axes: collaborative audiovisual production as an experience to develop critical social archetypes; modes of sharing and receiving images linked to collective thought processes; and co-learning as a political strategy within the context of formal and non-formal education on critique. The report consists of a compilation of case studies from Europe illustrating the emergence of collaborative production practices and experiences (collaborative film-making as a process) as they relate to collective learning processes and media literacy in Europe that are currently employed throughout cinema and audiovisual practices in contemporary art spaces, media broadcasting, educational spaces and citizen- participation spaces with physical networks and digital platforms. These collaborative practices and experiences result in the creation of counter-hegemonic discourses regarding gender, decolonization and immigration. In addition, the report proposes the exploration of new discourse strategies regarding participative transmedia formats in the European digital space. Through the study of the French and Spanish cases about the interactive documentary as a participatory space in the construction of discourses regarding material culture, global social archetypes and memory of the present.
Keywords: collaborative cinema, participation, collaborative film-making as a process, interculturality, interactive documentary, participatory transmedia formats, media literacy.
1 Professor and researcher at University of Murcia, Communication and Documentation Faculty. She is the author of the following books, among others: El instante de la memoria, Cine Infinito and is the co-editor of the book Cárcel de amor. Relatos culturales sobre la violencia de género. Director of Film and Digital Culture program, Culture Services, University of Murcia. She is involved in the research, development and innovation project Hacia el Espacio Digital Europeo: El Papel de las Cinematografías Pequeñas en Versión Original (Towards the European Digital Space: The Paper on Small Cinematographies in Original Version), directed by Margarita Ledo, financed by the Ministry of Economy and Competitiveness, General Administration of Technical and Scientific Research. She is currently developing the project Subtramas. Plataforma de coaprendizaje sobre las prácticas de producción audiovisual colaborativas (Subplot project. Co-learning platform regarding collaborative audiovisual production practices) http://subtramas.museoreinasofia.es/es/anagrama. She is a member of the Editorial Team of the journal Arte y Políticas de Identidad, Editum editorial. http://revistas.um.es/api and the Las Lindes group http://www.ca2m.org/es/videoteca-lindes about art, education and cultural policy.
1. Introduction In May of 2014, the Communication Commision2 specializing in European Cinema in the digital space adopted a cultural policy for the adaptation of the industry to the new digital landscape. Cinematographic pieces and other audiovisual productions were included in this proposal regarding the digitalization process of cinema and material culture. Also, it refers to digital technology as a new and more effective opportunity for producing and distributing film. The distribution of a copy of digital film can be up to ten times cheaper than a traditional 35mm recording. Therefore, digital cinema is understood as an advantage for European films within the context of international distribution. It also makes possible distribution through video on demand (VOD) as an additional advantage. As the process of digitalizing film theatres is taking place across Europe, which has resulted in an elevated cost, it stands out that digital tools are also utilized to create especial effects and 3D movies. This report intends to analyze the trends in collaborative cinema or network-produced cinema in order to shed light on the development of audiovisual productions in the European digital space. This trend is circumscribed to Cinema 3.0 and the interactive image, as pointed out by Daly (2013), who described how digital and information technologies and the networks of the Web 2.0 are transforming the ways in which film is produced, distributed and shown. Production and distribution have allowed the development of complex cultural mediation processes which have helped create an original product, as proposed by Balsom (2014), Acland (2003) and Tryon (2009) in their research about multiplatform cinema. As a consequence, this would suggest a trend that leads us to rethink European film studies, on the one hand within the cinematic tradition as a national, transnational or supranational cultural entity (Ledo Andión, López Gómez & Castelló Mayo, 2013; Higbee, & Lim, 2010; and Bergfelder, 2005), and on the other hand, within the emergence of a digitextuality, as recently described by Everett, A., & Caldwell (2015) and Manovich (2014), in a capitalist economy (Schumpeter, 2009) of participation and digital culture (Tryon 2013), served on
2 UE (2013): ‘Digital Agenda For Europe. A Europe 2020 Initiative’.http://ec.europa.eu/digital- agenda/en/scoreboard. Glossary. Cinematographic and other audiovisual works. Audiovisual works intended for a first screening in cinemas. Circulation of European cinematographic works is hampered by a number of factors, e.g. the fragmentation of the European market and strong competition from the US. European films rely heavily on public funding. The 2013 Cinema Communication of the Commission lays down the guidelines for granting state aid for films. The Commission Communication on European Film in the Digital area adopted in May 2014 outlines the policy proposed for the adaptation of the sector to the new digital environment. Digitisation of cinema & cultural material. Digital technology is a new opportunity to produce and distribute films more efficiently. Distributing a digital film copy can be up to ten times cheaper than a traditional 35mm print; digital cinema could therefore make it easier for European films to be seen by global audiences. Distribution via VOD can offer additional chances. However digital screening equipment for cinemas is expensive. Therefore in Europe, the digitisation process of cinemas is still ongoing. Digital tools are also used for special effects and 3D films. demand. In the “post-digital era” context (Cascone, 2000; Pepperell and Punt, 2000; Berry, 2014; Alexenberg, 2011), collaborative cinema practices and network-produced cinema are situated as cultural production modalities of the 21st century. This method of cinematographic production has been designated by many names. Apart from the term “collaborative cinema” (Parr, H., 2007), the most frequently used and the one used in this paper (Pack, 2012), others have been utilized, such as “participatory cinema”, “collaborative cinema” (Hudson, & Zimmermann, 2009), “interactive social cinema”, “video activism or participatory video”, “cinema do-it-with-others” (Diwo), “do-it-together cinema” ( DIT ) or “crowdsourced cinema”, providing a plurality of theoretical models for the critique of digital visual productions that reach even cell cinema and the narrative practices, as argued by Farman (2013) in his hybridization with locational technologies. 2. Objectives and Methodology The main purpose of this report is developing a conceptual framework for the European digital space in which the New Media collaborative practices are explored, and thereby opening this field to new horizontal cinematographic production methods favoured in the citizen participation sphere. This report presents collaborative cinema or web-produced cinema mainly as a transcultural production method addressing collaborative cinema as a process and the interactive documentary by collecting several case studies. Secondly, it links the media literacy of the communities involved in this practice to several institutions, such as museums, universities and contemporary art centers in Europe. To do so, the paper proposes several case studies of collaborative cinematographic production modalities that favour participation linked to the digital space in the context of Europe. These case studies develop in turn two points of reflection about interculturality and the representation of material culture generating international narratives. For this report the methodology used has been the collection of many articles and research papers on collaborative cinema, interactive documentary and the practical theoretical follow-through of the research Subtramas. Plataforma de investigación y de coaprendizaje sobre las prácticas de producción audiovisual colaborativa. (Subplots. Research and co-learning platforms regarding collaborative audiovisual production practices)3. One of the core aspects of this research has involved collecting and viewing a large number of multi-platform online collaborative works in archives, museum multimedia libraries and festivals from different European countries, in order to theoretically and practically address the development of the report’s proposal.
3 Subtramas. Plataforma de investigación y de coaprendizaje sobre las prácticas de producción audiovisual colaborativa (collective founded by Virginia Villaplana, Diego del Pozo and Montse Romaní). Financed by the Ministry of Education, Culture and Sport. Active research project in the digital visual culture field of study launching research and collaborative production around the moving image. To do so, Subplots points to those works that, using collective cinema and the visual arts, have questioned the relationship between knowledge and power, fostering a territory that crosses art, participatory democracy, education and daily life. Consulted on October 10, 2016. Available at: http://subtramas.museoreinasofia.es/es
3. Collaborative production experiences and practices (Collaborative film-making as process), media literacy and collective learning processes in Europe. Regarding the research experience with the methodologies of cooperative and collaborative cultural practices in social sciences and communication it is necessary to argue that in some occasions these notions can be confused with the terms “collective” and “participatory”. Collaborative or network-produced cinema posits that "collaborative" introduces more micro- political nuances and implies a more active attitude than that required to participate in something that is already organized or established. Collaborative cinema recovers the notion of culture as a set of practices, which implies awareness of objects, processes and also feelings or emotions (Hall, 1997; Hills, 2005). Collaborative cinema is in contact with learning processes linked to media literacy, to digital activism and the affective value. It is relevant to again mention the basis for the educational practices in the context of the political self-organizing tasks of small communities (Giroux, 2013). A reference is made to the action of collaborating with a group of people, as opposed to simply doing something with another or others. It is not the sum of works or forces of various agents, but a process of co- production in which ideally questions or disagreements on the processes, methodologies and ideas of work are incorporated and shared permanently, with the intention of integrating and generating agency with the different sensitivities that are added to projects. Collaborative processes, therefore, try to generate other forms of doing things that change the vertical logics of power of the production system, but do not imply a naive notion of horizontality, because it is not as simple as replacing verticality with horizontality. In relation to audiovisual practices, they are considered collaborative when they develop any of these levels of production: 1) a creator or group of creators participate in the life of the subjects depicted or filmed with a firm long-term commitment, but the aesthetic strategies are not negotiated with them. The creative team is divided by roles (direction, camera, editing, etc.). (2) A group of creators with no division of roles: all is decided among the team members and the aesthetic strategies may be negotiated with the subjects depicted or filmed. 3) Non-authorial model. Cinema without authorship: all the subjects involved, represented and not (filmed and not filmed), decide everything together in a process of constant negotiation. 3.1. Collaborative cinema, discourses of gender and decolonialism4 In the European context, collaborative cinema finds its genealogy in the practices of collective cinema5. In this sense, the counter-hegemonic speeches about gender and decolonization can be found in film experiences such as Brecht die Macht der Manipulateure / Break the Power of the Manipulators (Helke Sander. Germany, 1968) where it states: "At that time, I wanted to make a film that could convey complex political processes, letting it be understood that what one reads in the newspapers is not only 'information', but is rather
4 “To know you have to imagine!” (2012). Cycle of films programmed by Subplots (Collective formed by Virginia Villaplana, Diego del Pozo and Montse Romaní) in the Reina Sofia National Museum. 5 See in this sense the filmic video-essay online regarding collaborative audiovisual practices published by Subplots: http://subtramas.museoreinasofia.es/es/videoensayo worked, edited and annotated in a way that serves certain interests. At that time I had access to the understanding of these processes thanks to my participation in the student movement, even though I was not a student. It was very important, because the movement legitimized the permission to ask, criticize and look at things in a different way. That is why the film tries to not only to be a record of the campaign, but also to stress the arguments it conveyed. That’s why I renounced all that could divert the viewer’s attention, such as music, for example. The film’s premiere in 1968, at the great auditorium of the Free University of Berlin, was a complete failure. The audience there wanted to see itself portrayed in a heroic way; it didn't want to hear anything about analysis." One of the collective cinema experiences recovered by Subplots is Scuola senza fine (Adriana Monti, 1983). Between 1974 and 1982 in Italy the so- called 150-hour training courses were taking place. Initially addressed to factory workers and farmers, they were eventually expanded to pensioned retirees and homemakers. These courses proposed a particular emphasis on exploring knowledge and power as psychological structures that control and determine subjectivity, thus encouraging workers to reflect individually and collectively about working conditions, their labour union rights and therefore their own daily lives. Scuola Senza Fine starts as an educational experiment in the context of classes given to a group of female homemakers from a collaboration between the director, the students and their professor Lea Meandri. The film tries to show the relations of complicity that are established among women, the discussions on how they are represented and how they want to be represented, and definitely how the course was a space of self-knowledge and reaffirmation of the values that gave sense to their lives. Another of the collective cinema experiences using remix can be located in Signs of Empire (Black Audio Film Collective. UK, 1984), a film made by the English collective Black Audio Film Collective that represents "an examination of the colonial fantasy" and the historical, racial and economic conditions of the diaspora phenomenon in the contemporary life of Great Britain. Through a montage of texts and images the film deconstructs the historical narrative and the official photographic files, accompanied by a soundtrack that combines actual music with tape loops of political speeches. Some recent experiences that develop in their filmic practices collaborative film- making as process have opened the film production from the physical networks to the digital ones, according to Ledo Andión (2015), to spaces such as museums, social collectives and educational facilities, such as schools or universities, interconnecting the physical and virtual spaces of knowledge production. In this regards, Sisters! (Petra Bauer, UK/Sweden, 2011) is a collaborative project between the filmmaker and the Southall Black Sisters organization workers. The film documents a week in the life of the organization, and takes their daily activities as a starting point for a visual debate on feminism, politics and aesthetics in today's society. Sisters! questions what happens when the approaches of the 70s women's liberation movement (especially those explored by the collective of the feminist cinema of the time) are moved to the contemporary political context: what are the crucial feminist issues of the present, and in particular for the current generation of black women from ethnic minorities. The film Read the Masks. Tradition Is Not Given (2010) is part of an eponymous ongoing project directed by Petra Bauer and Annette Krauss that questions the Dutch tradition of Zwarte Piet (Black Peter) and its social and political implications. This project is an opportunity to open the debate to the public. In close collaboration with activists and organizations, they organized an installation of posters and banners at the Abbemuseum, a protest march / performance in the streets of Eindhoven, that was finally cancelled, and a public debate. The demonstration planned in 2008 to publicly criticize the Black Peter/Zwarte Piet phenomenon is the departure point for the whole project based on its cancellation due to the rejection it generated among the general population and the threats that its participants received. Produced with the support of the Danish Arts Council, If I Can't Dance, I Don't Want To Be Part Of Your Revolution, Wilfried Lentz, The Culture Programme of the European Union, Flamin, and the Mondriaan Foundation. Supposing I love you. And you also love me (Wendelien van Oldenborgh, 2012). Supposing I love you. And you also love me is a montage of static images with added dialogue. The piece records the voice of the philosopher Tariq Ramadan in an exchange with a group of five youths of diverse origins from Belgium and the Netherlands. Presented as a polyphonic mini- tragedy, with improvised forms of action and expression, young people form a choir in a playful exchange with the ideas and thoughts that Tariq Ramadan proposes on the diversity, fear, conflict and their own commitments in the city of Rotterdam. All the things we need to learn (Annette Kraus & Petra Bauer, 2005). This film asks how private life navigates through a system that represents collectiveness. For whom should I function as a person or as a citizen in a society? We have Hanna who left school, Hans who wants to teach everyone to swim, and Mans, who is five years of age. They meet to practice Swedish language correctly. Ideas on what makes us feel good are combined with what we can be capable of doing to fit in an environment. Integration through education. Satisfaction through standardization. Seeing and appreciating knowledge as a form of liberation. The film The Hidden Curriculum (Annette Kraus, 2007) explores unrecognized knowledge, values and beliefs that are part of the learning process in schools. The project focused on school learning forms generated outside the official curriculum. For three months, two groups of teenagers, Rietveld (Utrecht) and Amadeus Liceo (Utrecht) students ranging from 16 to 18 years old, analysed critically their own behaviour in the school environment. The results of their research were used to develop actions and interventions in the school and public spaces. These actions attempted to counter the usual routines in both environments, expose the hidden standards that exist in public and institutional spaces and reveal the codes of conduct unknown by the students themselves. For example, students sought a space previously unrecognized in their daily habits inside the school. Subsequently, those students entered the space and documented what they found, demonstrating a parallelism with the forms of knowledge they were investigating. This action was extended to public space, where students used their bodies to create barriers. In this resistance to standardization processes, Hidden Curriculum explored and exposed the limits of received ideas, both in terms of knowledge and common behavior. The important thing was not only the process of dismantling these codes through a collective process within the school in order to find these unexpected learning spaces, but also the way in which the project emphasized the potential to challenge and change the rules.
3.2. Networked collaborative Audiovisual practices, migration and media literacy The European Commission considers media literacy a key challenge in the digital environment, providing European citizens tools that help them to become familiar with the digital environment, more and more prevalent in European society6. The term literacy was coined in the 19th century to describe the ability of the citizens to read and write (Williams, 1976). "Two centuries later, the concept of what is now reading and writing has changed greatly. Literacy has now expanded to focus on deeper aspects: how audiences interpret, criticize, and respond to the media or other technology platforms, as well as the activities and interactions that develop in these contexts indigenous to the mobile and digital Era." (Grandio, 2014: 2)
Remapping Europe http://www.remappingeurope.eu/ is a digital platform that was born of Doc Next Work (Association "ę", MODE Istanbul, British Film Institute, and with the support and funding of the European Cultural Foundation). The project consisted of creating stories by immigrant themselves and giving them an audiovisual representation. During 2013-2014 four simultaneous workshops were produced in Warsaw, Istanbul, London and Seville. The participants were people who had lived the process of migration or people close to the subject. Once the workshops were finished, the participants were interviewed to contrast their perceptions. The interviews went on to form part of a new path, the publication Remixing Europe. Migrants, Media, Representation, Imagery. The project was presented due to a series of necessities from which a reflection on migration was intended to emerge, in which we would be able to understand the difficulties that being labelled as an immigrant involves, the prejudices and situations that in many cases it is impossible to circumvent. In this sense: "The richness and diversity of the cinematographic languages, techniques and technologies of cinema are seen as instruments of great importance, from primitive films such as Lumière’s and Méliès’ to the most sophisticated virtual insertions on YouTube. Their role as vehicle of the artistic and documentary narrative, and as a factor of filmic literacy, acquires an absolutely indisputable importance in any society that considers itself a society of knowledge and information as constructive contribution to our collective memory and culture." (Vítor Reia-Baptista, 2012: 86).
Joint report from 2012 of the Council and the Commission on the implementation of the strategic framework for European cooperation in the field of education and training (ET 2020). “Education and training in a smart, sustainable and inclusive Europe” 2012/C 70/05: Enhancing creativity and innovation, including entrepreneurship, at all levels of education and training. Partnerships with business, research, civil society. Develop effective and innovative forms of networking, cooperation and partnership between education and training providers and a broad range of stakeholders including, social partners, business organisations, research institutions and civil society organisations. Support networks for schools, universities and other education and training providers to promote new methods of organising learning (including Open Educational Resources), building capacity and developing them as learning organisations. Transversal key competences, entrepreneurship education, e-literacy, media literacy, innovative learning environments. Available at: http://eur- lex.europa.eu/legal-content/ES/TXT/?uri=CELEX: 52012XG0308%2801 %29
The need to uncover media fiction through personal stories. 1. The need to put value in moving memories that displace the immobility of the constructed media archetypes. 2. The need to assess and promote the emancipating citizen practices that give shape to new representations and which constitute an inclusive concept of citizenship, capable of returning their voice to those who are devoid of power so they can be heard. 3. The need to break with controlled integration. 4. The need to reclaim the migrants’ right to staying and to belonging. 5. The need to actively listen to and live the memories of others, share the right to decide. 6. The need to find ourselves in the difference. Remapping Europe presents itself as a project of web-based collaborative audiovisual practices generated from the need for strategies utilizing remix as a tool for deconstructing the dominant archetypes and thus exposing media, institutional and social racism. The need to uncover media fiction through personal stories, to give value to moving memories that displace the immobility of the constructed media archetypes. The need to reconstruct what Europe means from the recognition of our shared vulnerability and our inherent interdependence as human beings. The need to assess and promote the emancipating citizen practices that give shape to new representations and which constitute an inclusive concept of citizenship, capable of returning the voice to those who are devoid of power so they can be heard. The need to banish the notion of multiculturalism as white middle class folklore. The need to break with controlled integration. The need to narrate our identities as fragmented and that, therefore, they can only be completed through otherness. The need to reclaim the migrants’ right to staying and to belonging. The need to denounce any type of discrimination suffered by immigrants in their attempt to become part of our societies. The need to actively listen and live the memories of others, share the right to decide. The need of finding ourselves in the difference. The need of rewriting Europe. Of remixing Europe. Of Remapping Europe. 4. Participatory Transmedia Formats in the European Digital Space. Interactive documentary as an object of participation in the construction of discourses regarding material culture, global social archetypes and memory of the present. French and Spanish Case Studies. A definition of interactive documentary would consist of the conceptualization of the traditional documentary and the sum of all the new features of the new documentary. This definition should speak about its open character, its use of new technologies and the notion of Weibel’s (2003) expanded cinema, its educational and knowledge-transmitting function, its promotion of free knowledge in many cases and breaking of linearity, forming —according to Nash, K., Hight, C., & Summerhayes, C. (2014)— the emergence of platforms, practices and discourses that build a new ecology of the documentary image. On the difficulty of giving an actual definition to the webdoc,
Sandra Gaudenzi, Professor at the University of the Arts London, an expert author in interactive documentary, says in one of her studies: “If documentary is a fuzzy concept, digital interactive documentary is a concept yet to be defined. This comes with no surprise, since it is an emergent field, but the lack of writing on digital interactive documentary has also to do with the fact that new media artists do not consider themselves documentary makers, and therefore they call their work anything but interactive documentaries” (Gaudenzi, 2009, p. 6). Although the terms “interactive documentary” and “web documentary” or “webdoc” are used interchangeably, we must clarify what the differences are between both terms. Interactive documentary refers to all kinds of documentaries in which the user participates, be it format online or recorded in DVD, and is the more global term. In contrast, web documentary or webdoc only refers to interactive documentaries that are web-based. This last modality is currently the most common, while the first form of interactive documentary, the offline form, has become nearly extinct —it is estimated that between 90% and 95% of the new interactive documentaries are online— and, as Nash (2012) points out, they explore developed modes of interactivity for the simulation of the active participation and social expression spaces. Sandra Gaudenzi, in an interview for Le Blog Documentaire, explains the main reasons why the two countries that stand out in the Webdocs are France and Canada: "I don't know if the differences are cultural... There are countries which are more advanced in the industry than others, because they started earlier. It is true that the French started out nearly 10 years ago, with many proposals since then. The other great hub of production is Canada, also with appropriate budgets. The French want to develop a genre, and produce art. The Canadians, they have a historical culture of the documentary and want to extend it in the digital world. (Gaudenzi, 2013)”. In this heading we are going to do a review focusing on the most important interactive documentaries in the genre’s history in each country or group of countries, particularly France and Spain. We will follow a chronological order which, in turn, we will divide into the different phases of the history of the webdoc. Thus, we will be able to observe the evolution of the documentary and the applications of the research results in documentary works and collaborative modalities. In the European Digital Space France and Spain have concentrated their efforts in research, content creation, software development and dissemination of the interactive documentary. 4.1. French Case Studies We begin our analysis of the evolution of collaborative practices in the interactive documentary with the European country that has contributed and researched the most in order to develop and consolidate participatory transmedia formats. The production in France highlights the fact that the thematic focus is on material culture, international social problems and the representation of the memory of the present.
4.1.1. Development experiences of participation and urban space Dans un quartier de Paris (1996) was the first interactive documentary produced in France. Its authors are Gilberte Furstenberg and Janet H. Murray. Although it took several years to achieve the overall development of the work, it was in 1996 when it was finally posted in its original medium, the web. This documentary shows us an interactive map of the capital of France, especially of the neighbourhood of Le Marais, with which we can interact. Navigating the map one can find information on several of the sites, buildings, people, streets, etc. This information is presented to us in different forms, images, text, audio or videos for navigation and it is one of the first narrative works with geo-located participation. 4.1.2. Discourses on artistic cultural heritage (painting) and European history. Experimentation (1990 - 2000) Moi, Paul Cezanne (1995). Among one the three most notable documentaries of the French interactive documentary experimental stage, we find one devoted to one of their more illustrious painters, Paul Cézanne, born in 1983 in the city of Aix-in-Provence. The documentary Moi, Paul Cézanne, came out in 1995 in CD-ROM, an offline format. This documentary was produced by the French film, music and art television channel Téléramam, which after several of the aforementioned meetings of the Musées Nationaux, developed and produced this interactive documentary. The aesthetic presented is that of the painter’s studio. The user can explore his work and its history, virtually navigating the room and clicking on the objects found. It is a very innovative way to do a biography, which introduced new forms of cultural diffusion that French museums and art documenters could use. Le Mystère Magritte (1996). Museums and French artistic organizations discovered the great usefulness of interactive documentaries for art education. Le Mystère Magritte, published in 1996, follows the line of the previous documentary about Paul Cézanne. In this case it is the life and work of the Belgian surrealist painter René François Ghislain Magritte, born in 1898 in Lessines. This interactive documentary won numerous international awards and is still available for purchase today in several online stores. The CD’s tagline is a quote from René Magritte: "La peinture sert à évoquer ce qui nous importe le plus, je crois, c'est-à-dire le mystère du monde. (I think the purpose of painting is to evoke what matters the most to us, which is the mystery of the world)". The interactive documentary is structured chronologically and divided into four main points: biography, paintings, his work and image association. Each of these points is represented on a different screen, which in turn contains a variety of data and links for further information. Many pictures illustrate our navigation and some photography or other of René Magritte. It focuses extensively on the visual, creating an aesthetic that better immerses us in the artistic history that the documentary discusses. Its success is due in part to the fact it used and complied with many of the rules for browsing and structure. This is why when we view this documentary in particular we are not surprised, and it appears very familiar to us due to its modern web design. This point allows us to better appreciate the degree of novelty involved, given that very similar techniques to the ones used in this interactive documentary in 1996 are still employed nowadays in web design. Opération Teddy Bear (1996). This third project of the French experimental phase opened new artistic trends to be used alongside the webdoc. In this case it is a multi-branched narrative format based on comic books that gave rise to a whole movement called Comic Book Documentary. The synopsis of this documentary would be summarized in a project about World War II in which the events and its protagonists are all shown in comic form. All this information is housed in a large database that the user can browse through and in which they can select the information that most interests them. This documentary was the first one published in both DVD-ROM and CD-ROM format.
4.1.3. Social Discourse and Collective Archetypes. Interactive documentaries and participatory formats. Consolidation (2000 - 2010) We have already mentioned the documentaries that were part of the initial stages of the webdoc in France. The documentaries that we analyze next have been selected based either on their importance, as they broke away from participation schemes and innovated in the webdoc format, or based on their popularity among users because of their interaction and continued relevance in the present. 6/7 Billion Others (2003). One of the first webdocs. It was offered in two formats: computer download for offline viewing or online viewing. With this documentary a great level of participation in the genre is achieved, since its theme and style are very similar to the direct cinema documentary modality. This webdoc proposes a collaboration among several people of different countries and raises a series of questions on everyday themes: life, death, friendship, family relationships, focusing on daily and private life. More than 300 testimonials and stories can be explored little by little. This intercultural project has the purpose of constructing a geopolitical perspective on daily life practices with different cultural viewpoints in a collaborative way. In 2011, in the context of the project "Regarding Development", focused on raising awareness about the Millennium Development Goals, 28 new five-minute shorts were added to this collection, which were transmitted every week by FRANCE 24, in French and English. Four new 26-minute films are also available: Regarding Health / Regarding Poverty / Regarding Education / Regarding Women and Equality. http://www.7billionothers.org/. Thanatorama (2006). Another of the first highly valued webdocs in terms of collaboration and narrative interaction with users. Posted online, the webdoc begins explaining that the user is dead and asks if you want to know what happens next. This is a topic that we have pondered many times—what happens after death? This webdoc portrays and shows what will happen when we die, and shares different cultures and views on death and its events. Thanatorama would be another social documentary that, behind its main theme, has the purpose of gathering and understanding cultural diversity. This webdoc is still online and can still be viewed. Like many others, like 6/7 Billion Others¸ it is usually updated on a regular basis or when necessary due to user participation in the historical continuity. http://www.thanatorama.com/ Gaza Sderot – Life in spite of everything (2008). Gaza Sderot is an original broadcast project for Arte.tv, the French-German cultural TV channel, co-produced with Alma Films/Trabelsi Productions and in cooperation with The Sapir College in Sderot, Ramattan Studios, documentary producer Bo Travail and the interactive production company Upian.com. With this work we can see that the web documentary can be a great tool to give voice to people who do not have it and help solve conflicts where the main problem is the lack of dialogue. Broadcast daily from October 26 to December 23, 2008, it features 40 episodes, a total of 80 videos, interactive maps, personal interviews, tags, a variety of languages, etc. This thorough documentary aims to narrate the Israeli-Palestinian conflict from different points of view. It includes both real people and actors who, with their testimonies and opinions, tell us what happened and what is happening in the two countries. This webdoc has been very important because it gives a voice and a face to two very different positions in order to understand both, since in cases like these we cannot just take the testimony of one side or another. This documentary is a clear example of collaborative practices that create spaces for participation in situations of social conflicts like Palestine and Israel. With a final proposal for the interactive documentary as a link between societies, to achieve intercultural dialogue, defend people’s rights and give a voice to people who do not have one. http://gaza-sderot.arte.tv/ The Big Issue (2009). The last web documentary of this consolidation phase is a warning message from the World Health Organization about the dizzying rise of global obesity. The user will take the role of investigator and will be choosing information pathways to understand the problem of obesity. The internet user in this webdoc adopts the role of journalist and will use critical thinking skills to form an opinion on the relationship between healthy lifestyles and obesity. The documentary can be viewed online at http://www.honkytonk.fr/index.php/thebigissue/ 4.1.4 Transnational Discourses Regarding the History of the Present. Multiplatform and Participatory Transmedia Format Diversification (2010 - 2015) At this point, web documentaries, although continuously in development, began a new phase of reinvention and search for new collaborative and participatory modalities. Currently the web pages that one visits every day tend to be updated almost on a daily basis, and with the webdoc something similar has been happening; nowadays interactive documentaries are renewing and adding new updated information. As we have already explained, the diversification phase is characterized by the use of a variety of new media. The more popular the webdoc becomes and the wider the participatory audience they have, the more creators experiment, as all sorts of things are attempted and it becomes understood that the webdoc is a powerful cultural and audiovisual tool. Some of the criteria used for selecting the interactive documentaries for analysis are related to innovation and use of new tools focused on active collaboration and participation which, as in many examples in this genre, are meant to unite people in the process of transnational storytelling or make access to information easier for the global population. In this phase we find some of the interactive documentaries that have achieved considerable popularity by using real-fiction participation strategies in the narrative construction. Prison Valley (Arte/upian 2010). Prison Valley is one of the top-rated interactive documentaries in the history of narrative participation. It has a triple origin: Germany, United States and France. Posted online, this documentary possesses a high degree of gamification, sometimes making the mistake of confusing the user by making them think that the narrated story and what they are seeing is a game and not something real. The story places us in Canon City, Colorado, where there are 13 prisons with more than 36,000 prisoners. The Canon City population mostly work the jobs that these prisons offer. The user must inquire about these penitentiaries and, by way of playing, must create an investigator profile and listen to the testimonies, collecting information they encounter during this game-like navigation and first person storytelling. http://prisonvalley.arte.tv/?lang=en Kinshasa FM (2012). This social documentary was produced in collaboration with France (L'Institut Panos Paris) and the Democratic Republic of Congo for the Citizen Media project for peace and democratic governance (MECIP). In this case, a critique is made of the situations that journalists working in the Democratic Republic of Congo have to endure, as well as the difficulties, disadvantages and advantages of working in the country. Although it is only in French, it offers a very simple navigation interface. Formed by several successive videos, the user chooses which ones they prefer to see and in what order. This interactive documentary is not especially notable for its interaction options, which are mostly limited; Kinshasa FM offers the viewer the choice of either a slow or fast network connection. The ability to choose from several types of connection removes the technological gap among different countries, a global access to web content that leaves no one without access to the information on offer. http://webdocus.lesoir.be/kinshasa-fm/ Palestiennes, mères patrie (2012) is an example of the thematic evolution of the web documentary. The topic Palestiennes, mères patrie deals with is the same one as in Gaza Sderot − Life in spite of everything, the Palestine-Israel conflict, but from another point of view, that of the women. This hypertext work posted online in 2012 addresses the conflict as lived by one family’s women. The webdoc offers us the perspective of four different generations: the Intifada generation, the Facebook generation, the Nabka generation and the Arafat generation. Interviewing and speaking with several generations of women from the same family, we see the evolution of the conflict from Nabka to Facebook. Each generation starts with its respective woman explaining her situation, then we are led to an interactive display, all in the same room, in which we can explore the generation and the struggle of women of every age. For example: in the Facebook generation we can check and view information related to education as a weapon, sports or social media, while in the Intifada generation we have information on employment laws or the war itself. It is a documentary that precisely hybridizes interaction and information. This is an example of webdoc evolution, the moment in which two separate interactive documentaries on the same topic are made without being the same. Having countless resources and ways of treating the same subject makes it very difficult for two webdocs to be similar. http://cuej.djehouti.com/64-Intro- Gene.htm# Apocalypse 10 Destins (2014). This French project produced by CC&C and Ideacom International Web is another documentary that enables a better collaboration with users, as in this case cross-platform usability is supported, something that has begun to be the norm in interactive documentaries. Participation in this documentary allows web format as well as tablets and mobile devices. The topic is World War II, also explored in 1996 with Opération Teddy Bear in the experimental stage of the French documentary. With a similar aesthetic to that of videogames, it allows for gamified participation, its navigation being a hybrid of animation tools and audiovisual forms from documentary photographic archives that make Apocalypse 10 Destins an immersive webdoc as the viewer can adopt the point of view of characters from different nationalities. The documentary offers the possibility of signing up to access extra content that is unavailable if through guest login, which is increasingly employed by webdocs to generate interest and possibly funding. It portrays the daily life on ten people with different profiles during World War II. http://www.apocalypse- 10destins.com/ Catacombes: Historias del subsuelo de París (Catacombs: Tales of the Parisian Underground [2014]). Catacombes is a collaboration project between France and Spain, directed by the Frenchman Victor Serna and produced by Victor Serna, Barret Films, Mehdi Hajjaji and Mercé Aldomar. This is another documentary created for multiple platforms, web, mobile, tablets, etc. In reviewing the history of the French interactive documentary we have already touched upon all platforms in the genre’s history, ranging from the CD-ROM to web cross- platform and tablets. Catacombes: Historias del subsuelo de París is an interactive documentary of elaborate aesthetics which addresses a little known subject for many: the subterranean tunnels that run through the French capital’s underground. Under this network of galleries we find the culture and the history of the underground city. After an introduction in which we descend into the Parisian catacombs, the documentary offers a choice between four tours or functions of these underground tunnels. The first one is The Nazi Bunker, where Nazi history remains underground, used in World War II for communications and currently abandoned. The second story is that of the Underground Parties, the old bunkers becoming a party place for hundreds of people who congregate illegally. The third story is about the Plague. These subfloors were of great importance for the French revolutions of May ‘68, especially one of the rooms called The Beach, although there was no sandy beach under the cobblestones. The final story is perhaps the most macabre one, as it tells about the heaps of bones of more than six million people that can be found in the corridors and rooms of these catacombs. All the videos of the four stories have documentary photo data and film archives. The four stories may be interacted with in a non-linear way. http://www.lescatacombes.com/#Home
4.2. Spanish Case Studies The history of the interactive documentaries in Spain can be explored as we analyze the most important works that have been published in our country. In Spain, the webdoc tradition begins in the experimental phase, with two documentaries published in 1996 and 1998 respectively: Dotze sentits. Poesia catalana d’avui and Joan Miró. The colour of dreams. As in Canada, the leading producer and developer of web documentaries is the National Film Board and in France and Germany it is the Art Channel, in the case of Spain, one of the institutions that has best supported the development of the genre has been RTVE with the think tank for the online development, production and dissemination of the webdoc. 4.2.1. Discourses on Artistic Cultural Heritage and Immersion. Experimentation (1990 - 2000) Dotze sentits. Poesia Catalana d'avui (1996). First Spanish offline interactive documentary. Presented in CD-DVD ROM format, it was a project produced by the Instituto Universitario del Audiovisual of the Pompeu Fabra University and with the collaboration of the Instituto de Ediciones of the Provincial Government of Barcelona. The CD-DVD is a summary of the life and work of twelve Catalan poets: Blai Bonet, Joan Brossa, Enric Casassas, Narcís Comadira,
Feliu Formosa, Pere Gimferrer, Maria Mercè Marçal, Miquel Martí i Pol, Josep Palau i Fabre, Francesc Parcerisas, Màrius Sampere and Jordi Sarsanedas. The interface is very simple and does not offer many links or possibilities. It has three major points: poets, poetry recital and encyclopaedia. In the Poets section, from the project website in the Pompeu Fabra University portal, we find poems, interviews, and biographical data. The functions of the Poetry Recital main section are described in the CD-DVD in the following way: “El recital és la part lúdica de Dotze sentits. Us convidem a descobrir-lo i gaudir-ne, al CD-ROM Dotze sentits. Podeu crear un recital al vostre gust, o bé automàticament. Si hi posseu entreactes, podreu gaudir d'una sorpresa després de cada dos poemes” (Upfedu, 2015). This description of the interactions that the user may engage in is the basis for the web documentary, as it states that the user can create the recital to their liking by making their own composition. The last section is a small encyclopaedia containing information on these twelve Catalonian poets and poetic movements. The CD-DVD's contents can be accessed online and offers insight into the evolution of CDs and interactive DVDs in Spain. http://www.iua.upf.edu/dotze_sentits/entrada.html Joan Miró. The Color of Dreams (1998). In this case the Joan Miró Foundation and Pompeu Fabra University jointly developed a tribute to celebrate and to disseminate the life and works of the 20th century Catalonian painter. Created for an offline format such as CD and DVD, this hypertext piece is organized chronologically through the life of the painter. The website of the Pompeu Fabra University sums up the theme of this project and the explanation of its title in the following way: "The title, Joan Miró. The Color of Dreams, is a metaphor for a mindset of constant openness to new expressive experiences, whether exploring different techniques or more specific aspects such as subject, symbol, gestures and, of course, colour" (Iuaupfes, 2015). This project is an important database of the painter’s work, and like many of the first interactive documentaries, can give us the feeling of browsing a regular website. We must understand that this similarity with the most recent web pages demonstrates the novelty of these documentary products in their early years, and in their earliest forms, when they respected highly organized structures and thought was given to the user and the ease of navigating and browsing the given data. 4.2.2. Discourses Regarding Material Culture, History and Memory Consolidation (2000 - 2010) "As the benefits of the web increased, documentary directors and interactive doc authors matured their ideas, and the webdoc format began to consolidate and to impose itself over others. The period from 2000 to 2010 is the decade where the first large works of the interactive documentary were produced and where a renewed interest in this type of narrative emerged (Arnau Gifreu, 2014).” From this phase two documentaries stand out: 2003’s BCNova and Guernica, pintura de guerra (Guernica, Painting of War), from 2007. And as Gifreu points out, in this stage we begin to perceive that the earlier great works come to Spain, which are very elaborate and followed now well- established foundations thanks to research and development of this type of cinema. BCNova (2003). In the earlier part of the decade, Cordula Daus and Anita Serrano from Pompeu Fabra University developed one of the first online interactive documentaries in Spain. BCNova presents a timeline that can be browsed reviewing the changes in Barcelona from 1992 until 2003. The webdoc begins with the Barcelona Olympics between July and August 1992. It ends with the Cultural Universal Forum, which although it ended in September of 2004, the project tells only what happened until 2003. BCNova used very advanced flash technology, and ended up being more than a simple online documentary; there were also a series of activities related to the topic and aimed at raising some awareness among citizens. Guernica, pintura de guerra (2007). On the occasion of the 70th anniversary of the Guernica air raid, Televisió de Catalunya devised and developed this new project. This attack on the civilian population of the Biscayan municipality of Guernica, which had the macabre goal of aerial and weapons testing for the World War II, served as inspiration for the Malagan painter, Pablo Picasso, to create one of his most iconic works. The documentary project was developed by the team of the programme 30 Minuts of Televisió de Catalunya. 30 Minuts is a documentary and news programme that seeks to show the real world surrounding us, asking questions about society and trying to answer them in half an hour. This interactive documentary was developed for three different formats, something extremely novel for the year 2007: web, Digital Terrestrial Television (DTT) and Media Center. The documentary was broadcast on television and viewers with web or DTT technologies could access complementary information on the topic in real time. Once it was over, one could continue consulting the information; a trivia game was also created about the story. The documentary, although broadcast on television, can be accessed online, both the audiovisual and the interactive parts. Upon starting, the documentary shows four objects that can be interacted with and that correspond to the four main sections of the webdoc: Story of a Painting, A Symbol Against the War, Shafrazi Experience and The Protagonists. Each section contains detailed information on each topic arranged in different ways. The story is presented in a timeline, the symbolism being a virtual painting in which each scene and section is highlighted. In the protagonists section we can see each key individual of the time and read about their lives and actions, and finally in Shafrazi Experience we can create our own Guernica, much like the young Tony Shafrazi did in 1970 when he painted Guernica in the United States to protest the policies and measures that had been adopted by that country regarding the conflict in Vietnam. http://www.tv3.cat/30minuts/guernica/home/home.htm
4.2.3. Discourses on the History of the Present and the Use of the First Person. Multiplatform and Participatory Transmedia Format Diversification (2010 - 2015) With diversification we arrive at the last phase of the history of web documentaries in Spain, the phase in which the foundations of the genre are already established and people are working freely for the development of new works. We will devote this space to one of the most innovative Spanish webdocs in terms of using the new digital tools characteristic of the transmedia participatory formats. SEAT. Las sombras del progreso (SEAT. The Shadows of Progress [2012]). A history of the automotive brand in web format. It is perhaps the best-known webdoc in our country and one of the most visited on the web. It was born of a university project by five students in the Creative Documentary Master’s Degree Program of the Autonomous University of Barcelona. This work has extra merit by virtue of having been made in a school course while having to go through all the processes of creation, topic selection, research, user response prevention, programming and many more tasks. We are met at the start with the possibility of following a linear route or a different route selected by the user. The first thing we have to do once we have chosen our tour is to register, as it attempts to treat the user as if they were a worker in the SEAT factory. People who are not very familiar with webdocs may feel a little lost at first, and a site map that would allow for easier navigation is missing. The webdoc has been corrected continuously up to its current form, so it is possible that current errors may be corrected in the future. The documentary tour follows the order of an assembly line in which photographs from the period are interspersed with car parts being assembled. The webdoc uses new programming tools such as HTML5. The sections include My Story, which allows users to tell their versions and experiences with SEAT. One of the key points of this documentary is the homogeneous mix of a factory’s history and the political affairs of Spain back then. http://www.sombrasdelprogreso.com/
5. RTVE’s Think Tank Within the web documentary in Spain, we must mention the audiovisual research laboratory of Spanish television. "Precisely as we attempt to meet the demand for new forms of consumption, there have appeared recently in our country interesting initiatives such as the RTVE think tank, a project that puts into practice new ways of conveying and bringing information to the users. This ground-breaking initiative in Spain regarding the creation of audiovisual multimedia products for a mass audience provides it with formats in the public broadcasting context" (Irene Liberia Hollinshead, 2015, p. 298). It is a project that seeks to investigate the new narrative types offered by the internet. Although the RTVE’s think tank has investigated many fields of the internet, currently it is focusing its efforts on the web documentary in Spain. In addition to researching the webdoc, it has produced and developed several projects that have ended up receiving important awards. This means that research in the field ends up bearing fruit in the form of successful projects.
Among the best known documentaries by the RTVE Laboratory the following are particularly notable: Alma, hija de la violencia (Alma, Daughter of Violence), on the violence in Honduras narrated and told by a person that has lived these types of violent situations; it is a very simple documentary but at the same time it submerges us in history in a very interesting way, mixing video and photos. Cromosoma Cinco (Chromosome Five) tells the story of a special needs child due to lack of chromosomes. We can see in this work the points of view of the parents who have to take care of a child with these needs. It is an initiative of great value for the new documentary genre. The RTVE Laboratory seeks, in sum, to investigate the new narratives, and with the web documentary, a new broad range of research and interactive documentary development possibilities is now available.
6. Conclusions This report serves as a theoretical basis for the discourse and practices of collaborative or physical and virtual network-produced cinema that involve citizens in the narrative creation process in the European digital space. The practices and visual strategies that make up its discourse have enabled the differentiation between the experiences and practices of collaborative production (Collaborative film-making as process) and transmedia documentary formats presented as an object of participation in the construction of discourses on material culture, global social archetypes and memory of the present. The discourses and practices of collaborative or physical and virtual network-produced cinema are moving toward multiplatform interactions. New software categories include: social media (like Facebook); micro-content services (such as Twitter); sharing sites (like YouTube, Vimeo, Flickr, etc.); organization and quick media editing software for consumers (like iPhoto); blogging sites (like Blogger, WordPress). In their parallel development, these follow the creation of audiovisual discourses charting a new collaborative communicative ecology. Consequently, special attention must be paid to media literacy and the processes of citizen multi-literacy. The European collective imagination is built upon the hybridization between production broadcast in Europe and the legitimacy of the "poor image" (Hito Steyerl) that the citizens produce collaboratively in the post-digital era. Transmedia documentaries formats, apps and websites of the "social media era" are not meant for isolation. Rather, they participate in a longer ecology, one which includes search engines, recommendation engines, blog systems, RSS feeds and other web technologies; low-cost electronics available to consumers to capture and access media (digital cameras, phones, music and video players, digital photo frames, TVs with Internet); and technologies that enable the sharing of media between devices, people and the web (storage devices, wireless technologies such as WiFi and WiMax, data transfer standards such as USB and 4G). Therefore, this ecology should be taken into account in any study on the production of collaborative images, social networks and their software (as well as access to content at the consumer level and development of media software designed to support audiovisual sharing website). This trend is circumscribed to Cinema 3.0 and the interactive image as pointed out by Daly (2013), proposing how digital and information technologies and the networks of the Web 2.0 are transforming the ways we produce, distribute and show films. Production and distribution have enabled the articulation of complex cultural mediation processes, which have participated in the creation of an original product, as film theorists Balsom (2014), Acland (2003) and Tryon (2009) proposed in their investigations into multi-platform cinema. As a consequence, this would suggest a trend that leads us to rethink European film studies, on the one hand within the cinematic tradition as a national, transnational or supranational cultural entity (Ledo Andión, López Gómez & Castelló Mayo, 2013; Higbee, & Lim, 2010; and Bergfelder, 2005), and on the other hand, within the emergence of a digitextuality, as recently described by Everett, A., & Caldwell (2015) and Manovich (2014), in a capitalist economy (Schumpeter, 2009) of participation and digital culture (Tryon, 2013) delivered on- demand. Global discourse and narratives are internationalized, providing the possibility of intercultural diversity and collective knowledge production methods.
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