Overview

Interactive documentary emerged rapidly from a constellation of changing technologies and practices to much excitement, yet its history is short and its future uncertain. In the mid-2010s Canada was a world leader in the creation of i-docs. Less than a decade later technological obsolescence has rendered many of these celebrated projects inaccessible, while rapid digital innovation continues to change the i-doc form and its modes of experience. The Interactive Documentary in Canada captures this transitional moment in documentary filmmaking and media production. Bringing together a range of historical, theoretical, and critical approaches, this collection examines the past – and the imagined future – of a nonfiction storytelling phenomenon that has Canadian institutions, figures, and works at its centre. Embracing a polyphonic conception of interactive documentary, the volume includes explorations of web-based, app-based, installation, and virtual reality works that push the boundaries of what is understood as documentary cinema. Leading documentary scholars and makers consider the historical and technological contexts of i-doc production, innovation, and exhibition; the political and pedagogical potential of the genre; the ethics of the i‐doc experience; and the format’s future lifespan in the contemporary media landscape. The Interactive Documentary in Canada establishes a place for the i-doc in the history of Canadian film, highlighting the genre’s significant impact on the National Film Board of Canada and on contemporary global documentary media.

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9780228021070

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Reviews

“Those things most recently outdated tell us much about our present. I-docs reflect their conditions of production: a moment of transition between media paradigms, the new one of which we are now just catching sight of. At stake is not only what these i-docs were but also how they changed our sense of what it means to interact. Baker and Mulvogue are doing a great service by creating a record of this receding moment in Canadian documentary media history; these essays are already an archive for the future.” Jaimie Baron, University of California, Berkeley

Author Information

Michael Brendan Baker is professor of film studies at Sheridan College. Jessica Mulvogue is lecturer of film studies at the University of St. Andrews.

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