RTVF 20: Introduction to Interactive Non-Fiction

Aashish Kumar, MFA

Professor, Radio/Television/Film Department

Herbert School, Rm 309 Office Hours: W 2-4 pm; R 1:15 – 2:15 pm

516-463-6573 aashish.kumar@hofstra.edu

Course Description
This course is designed as an introduction to emerging trends in interactive non-fiction
storytelling involving user participation, navigation design, and web distribution. Students will also
learn the basics of non-linear storytelling using software for designing web multimedia. Instruction will
include hands-on exercises in navigation design, critical analysis of outstanding interactive web
projects, and readings in the history, aesthetics, and challenges confronting this evolving field.

Course Text and other readings:

Aston, Judith et al I-Docs: The Evolving Practices of Interactive Documentary (Nonfictions)
Columbia University Press, 2017. (selected chapters) Available as e-book from Hofstra Library
Aufderheide, Patricia. “Interactive Documentaries: Navigation and Design.” Journal of Film
and Video, Volume 67, Numbers 3-4, Fall/Winter 2015 Available on Blackboard
Freixa, Pere & Soler-Adillon, Joan & Sora, Carles & Ribas, J. Ignasi. “Snow Fall and A Short
History of the Highrise: two approaches to interactive communication design by The New York
Times.” Textual & Visual Media. 63-84. 2014. Available on Blackboard
Recommended readings/viewings:
Murray, Janet Horowitz. Inventing the Medium: Principles of Interaction Design as a Cultural
Practice MIT Press, 2017
MIT Open Doc Lab: Timeline of Interactive Documentary
http://opendoclab.mit.edu/interactivejournalism/timeline.html

Course Overview
Interactive non-fiction spans interactive web-documentaries (sometimes referred to as “interactive
factuals”), journalistic multimedia stories, and transmedia projects that live across different media
platforms. In addition, emerging technologies of immersive storytelling – virtual reality, augmented
reality, mixed reality – will be explored as disruptions of conventional 2-D screen technology. In this
new universe, the focus shifts to viewers piecing together stories from non-linear web design. Students
will also learn the basics of non-linear web storytelling using Klynt (or equivalent), a software for
designing web multimedia. Through hands-on exercises and discussions of case studies of outstanding
interactive web projects, VR stories, and transmedia projects, students will be encouraged to explore
the following questions:
• How do these disruptive trends impact the conventional roles in content production (director,
editor, cinematographer, writer)?
• What is the potential for interactive storytelling in creating persuasive and moving content?
• Does non-linear storytelling design allow for deeper exploration of content, and if so, how do
storytellers operate in this limitless space?
• How does the practice of interactive non-fiction build on and depart from traditional non-fiction
for film and television?

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RTVF Department Goals and Course Objectives
Students will learn the foundations of innovative web-based storytelling using archival video,
photos, graphics, data, and social networks. The following departmental goals and objectives will
be targeted and assessed in this course:

Goal 1. Students will learn to communicate effectively.

A - Obj Demonstrate proficiency in written work.
Goal 3. Students will acquire a theoretical, historical, conceptual and critical understanding of
radio, television, and/or film.
A-Obj. Demonstrate an understanding of radio, television, and/or film by critically
analyzing one's own work and the work of others.
Assessed through critical analyses, navigation design analysis and reviews of groundbreaking
interactive projects as well as responses to readings in the historical evolution of interactive media

Goal 2. Students will develop their creative voices.

A - Obj. Apply and incorporate major concepts and practical approaches in a culminating
experience
Goal 3. Students will learn how to create quality audio, video and/or cinematic work using current
and evolving technologies while learning the production process for radio, television, and/or film.
A - Obj. Apply the fundamental concepts of production in radio, television, and/or film to
complete a media project.
B - Obj. Demonstrate proficiency in using current and evolving hardware and software
applications
Assessed through design, wireframing, and final “publishing” of a web-interactive derivative non-
fiction project; additional assessments on theoretical as well as technical aspects of interactive
design will be assessed through exams.

Additional objectives:
• Reflect and write critical analyses of web-docs and commercial interactive projects
• Deepen their understanding of “living history” mode of storytelling whereby storytelling
becomes active, updatable, and user-dependent
• Develop interactive storytelling forms using principles borrowed from design, interaction
studies and user-centric marketing
• Learn from guest lecturers as they discuss their approach to developing, funding, and
distributing interactive stories
• Prepare for professional roles in developing second-screen interactive content for
television and film and for pathways to advanced studies in interactive and immersive
media

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Course Outcomes

Written Assignments 30 %
(Design and critical analyses of case studies in interactive storytelling)
Midterm and Final Exam 20%
Class Participation 10%
Final Interactive Project 40%
15% (Storyboard/pitch deck for interactive web storytelling)
15 % (User experience and user testing of interactive storytelling)
10% (Iterative re-design of interactive project)
TOTAL.................................................. 100

GRADING: Students will receive timely feedback on projects and assignments submitted, and a grade
for the course at the end of the semester. In this class, grade categories are as follows:
D = barely sufficient to pass the class
C = work done competently and submitted punctually
B = work is outstanding in either form or content, not both
A = work is original & successful in content, where applicable, excellent in craft & technical aspects.

Attendance/Assignment Policy:
Attendance is mandatory, each unexcused absence will result in a deduction of 5 points from
your Class Participation grade. All absences must have a valid excuse.* All lateness to class must
also have an excuse. Excessive lateness will be counted as unexcused absences. All deadlines are
hard deadlines; late work will not be accepted.
*YOU MUST NOTIFY PROFESSOR VIA EMAIL PRIOR TO OR IMMEDIATELY AFTER AN ABSENCE.
These emails will count as an acceptable excuse for the first 2 absences, after that a note is
required. Students are required to be available for production work beyond scheduled class time.

Blackboard Use
Readings, assignments, wiki posts, and other notices will be regularly posted via Blackboard. It is
your responsibility to check the BB site at least twice during the course of the week to look up
assignment deadlines and other dates. A percentage of your class participation grade will
comprise your effort in this regard. Most assignments will be handed in via BB and because they
are timed to disappear after deadlines, it simply won’t be possible for you to post anything late. I
will go over the procedures in class only ONCE. Please take notes, ask questions, and if still
unclear, see me during office hours.

Email
While I understand that electronic communication has come to be the way a lot of work is done, for
certain things, it is best to appear in person and discuss with your professor during office hours.
Between the different classes I teach and my other academic projects and responsibilities, I generate a
considerable volume of email and I often respond to them in order of priority. It is also conceivable that
when one sends an email, one almost expects it to be attended to right away. You are hereby advised
that depending on the urgency of the matter, you should not expect a response to your emails before
24-hours.
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Statement On University Policy
For specific policy wording relating to the following important matters: Academic Dishonesty;
Student Access Services; Deadlines and Grading Policies; Absences for Religious Observance;
Discrimination, Harassment, Sexual Misconduct; the Center for Academic Excellence, see Hofstra
Policies: Wording for
Syllabuses: https://www.hofstra.edu/about/administration/provost/provost-hofstra-
policies.html .”

Hofstra Community Standards Code And Guidelines:

http://www.hofstra.edu/StudentAffairs/DeanOfStudents/commstandards/commstandards_cond
uctcodes.html

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 RTVF 20 COURSE CALENDAR
(SUBJECT TO CHANGE)

Week 1 What is interactivity – discussion of various forms – web-documentary,

Jan 28/30 interactive non-fiction, transmedia projects; Discussion of Do Not Track.
Set up Klynt accounts
Reading: Aufderheide
Critical Analysis#1: Do Not Track

Week 2 Critical Analysis#2 – New York Times and National Film Board (Canada)
Feb 4/6 Highrise project;
Reading: Aston et al Chapter 1 and 3 (i-Docs and the documentary
tradition; Co-creation and i-doc)

Week 3 Critical Analysis#3 – Uniondocs Living Los Sures project;

Feb 11/13 Introduction to Klynt – a software for creating non-linear stories for the
web.
Reading: Aston et al Chapter 6 (Living collaborations in Living Los Sures)
Klynt Tutorial #1; discuss potential story ideas;

President’s Day Weekend – Class does not meet on Tues Feb 18

Week 4 Klynt Tutorial #2 (Interface, editor); Discuss storyboarding for non-linear

Feb 20/25 storytelling; Tools for interactive storytelling – what is “user
experience”
Reading: Aston et al Chapter 7 and 8 (Evaluating users’ experiences)

Week 5 Klynt Tutorial #3 (Timeline and nodal editing) ; Writing for non-linear
Feb 27/Mar 3 storytelling; Pitch Klynt projects
Reading: Aston et al Chapter 6, 7 and 8 (Software as co-creator;
Evaluating users’ experiences)

Week 6 Critical Analysis#4: Journey to the End of Coal

Mar 10/12 Guest Speaker (Interactive projects in journalism)

Spring break – class does not meet during the week of Mar 15-21
Week 7/8 Klynt project – Prep and User testing of initial mock-ups – feedback
Mar 17 - 26 session

Week 9 Klynt Tutorial #4 (Coding for interactivity and interactive audio)

Mar 24/26 Critical Analysis#5 – New York Times Hollow project

Week 10 Critical Analysis#6 – Interactivity as Immersion in Notes on Blindness

Mar 31/April 2 Guest Speaker (VR Creator)
Reading: Aston et al Chapter 14 (Experiments in immersive journalism)
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Week 11 Klynt Tutorial #5 – 2nd testing Klynt projects and troubleshooting
April 7/9 interface;
Reading: Aston et al Chapter 11 (Testing and evaluating design
prototypes)

Week 12 Refining interactive projects; uploading to web-site and testing for

April 14/16 multiple browsers

Week 13 Group meetings to test projects at installation site and to plan

April 21/23 exhibition of interactive projects

Week 14 Lab days for instructor feedback on final project

April 28/30

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 Web-documentary Portals

MIT Docubase – an interactive curated database of the people, projects, and technologies
transforming documentary in the digital age.
http://docubase.mit.edu/

New York Times Interactive Stories

https://www.nytimes.com/spotlight/rio-olympics-2016-interactive-stories

NFB/interactive – a portal through which to browse all of National Film Board of Canada’s i-docs
projects to date.
http://www.nfb.ca/interactive/

DocShift – a comprehensive archive of i-docs by the Documentary Organization of Canada.

http://www.doctoronto.ca/docshift

idfa DOCLAB – show-casting the rich international range of webdocs presented at idfa DOCLAB so
far.
http://www.doclab.org/category/projects/

TFI Sandbox – all the projects sustained by the Tribeca Film Insitute
http://sandbox.tribecafilminstitute.org/

XO Labs – blog and site for an international training organization dedicated to developing the
production of crossmedia content and exploring the creative and commercial challenges of
developing digital media. Interactive arm of Sheffield Doc/Fest.
http://www.xolabs.co.uk/

Arte Webproductions – the entire collection of webdocs produced by Franco-German television

Arte.
http://www.arte.tv/fr/toutes-les-webproductions/2213362,CmC=6845158.html

Le Monde Webdocumentaire – all the webdocs produced by French newspaper Le Monde.

http://www.lemonde.fr/webdocumentaires/

Select Bibliography

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Almeida, A.; Alvelos, H. (2010), “An Interactive Documentary Manifesto“. In: ICIDS’10.
Proceedings of the Third joint conference on Interactive digital storytelling. Heidelberg: Springer-
Verlag. Berlin. Conference Proceedings, pp 123-128.

Aston, J.; Gaudenzi, S. (2012), “Interactive documentary: setting the field”. In: Studies in
Documentary Film. Vol. 6 Issue 2:

Choi, I. (2009), “Interactive documentary: A production model for nonfiction multimedia

narratives”. In: Intelligent Technologies for Interactive Entertainment, pp 44-55.Berlin: Springer:

Davenport, G.; Murtaugh, M. (1995), “ConText: Towards the Evolving Documentary”. San
Francisco: ACM Multimedia 95. In: Electronic Proceedings, pp. 5-9:
Dovey, J; Rose, M (2012). “We’re Happy and We Know it: Documentary:Data:Montage”. In:
Studies in Documentary Film. Vol. 6 Issue 2:

Galloway, D.; Mcalpine, Kenneth B.; Harris, P. (2007), “From Michael Moore to JFK Reloaded:
Towards a working model of interactive documentary”. In: Journal of Media Practice, 8(3), pp 325-
339:

Gaudenzi, S. (2013), “The Living Documentary: from representing reality to co-creating reality in
digital interactive documentary.” [Doctoral Thesis]. London: University of Goldsmiths. Centre for
Cultural Studies (CCS):

“i-Docs special edition” (2012). In: Studies in Documentary Film, vol 6 issue 2, edited by Judith
Aston , Jonathan Dovey and Sandra Gaudenzi.

Lietaert, M. (2011), “Webdocs… a survival guide for online filmmakers.” Notsocrazy!. With the
support of Idfa Doclab.

Miles, A (2014), “Materialism and Interactive Documentary” (Pre-print version) In: Studies in
Documentary Film: Vol. 8

Nash, K. (2014) “Strategies of interaction, questions of meaning: an audience study of the NFBs
Bear 71”. In: Studies in Documentary Film. London: Routledge

Observatoire Du Documental, Documentary Network (2011), “Documentary and New Digital

Platforms: An Ecosystem in Transition.”

Perlmutter, T (2014) “The interactive documentary: A transformative art form” An expansion of

his keynote at Sunnyside of the Doc 2014.

Skartveit, H.-L.; Goodnow, K. (2004), “Interactive Documentary”. In: Proceedings of DigiMedia

Conference, Cairo, Egypt.

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Ursu, M. F.; Zsombori, V.; Wyver, J.; Conrad, L.; Kegel, I.; Williams, D. (2009),“Interactive
Documentaries: A Golden Age”. In: ACM Computers in Entertainment, Vol. 7, No. 3, Article 41,
27pp.