Notes toward an Interactive Documentary Production Class

My current position calls for developing more social, visual, and interactive contributions to the department’s curriculum. After creating an introductory social media class and an online marketing campaigns class, this semester I proposed a course titled Interactive Documentary Production, which has been approved for the 2019-2020 school year.

The course requires no previous experience with audio-visual production, so it introduces those basics alongside providing exposure to working in interactive online spaces.

The primary goal of the course is play as it relates to technology and reality representation. (More on the idea of play later.) Beyond that goal, this post offers a thinking through of the course’s possible assignments and a bit about their rationales.

Compilation Video

This 1-2 minute video would feature only archival footage, though voiceover, music, and titles could be added as needed. The goals behind this assignment include thinking critically about editing and about researching non-original materials.

Person-on-the-Street Video

This 1-minute video would feature 5-7 person-on-the-street interviews edited around 2-3 key themes drawn from an original question. The goals behind this assignment include developing interviewing skills, seeking themes among materials, creating an order among those themes, and editing diverse voices into a coherent narrative.

Web Series

The compilation video and the person-on-the-street video could become part of a web series. Or, the web series could be a separate project altogether. One distinction I would need to make here is separating the web series from programming a YouTube channel: How are they similar? How are they different? The goal for this assignment includes thinking about and developing online programming as part of a strand.

Text-Based Docugame

I suspect this assignment will draw the most kick-back, but it really drives home the importance of story, presentation, users, and engagement. Text-based documentaries frequently get overlooked, particularly in our ever-digitizing and visual world, and this assignment would serve as a reminder of the importance of text in the communication of experiences. Text-based games also get overlooked in favor of the more visually rich environments of massively multiplayer online role-playing games. (This clip from The Big Bang Theory shows more how those text-based games work.) But together these options could provide a way to engage audiences in ways that require thinking outside the frame.

Interactive Documentary

While the phrase “interactive documentary” covers a lot of possibilities, students could create one using a platform such as Korsakow. The goals here include working with nonlinear storytelling and user experience.

Animated Documentary

Animated documentary could be a short assigment wherein original materials would be transformed into animated ones. For example, one approach might take audio-only sequences and set them to animation such as in Broken: The Women’s Prison at Hoheneck. The goals here include thinking about what to show when no visual materials exist and about the possibilities and boundaries created by the art of animation.

Augmented Reality Documentary

Augmented reality adds a layer of text and context between the user’s device and the world before them. This assignment would require thinking about what that extra layer would offer the user and how it would offer it. Goals here include developing greater focus on the end-user’s experience and thinking outside beyond the screen frame.

Nonfiction Virtual Reality

Arguably, virtual reality remains the most complex among the options listed here. Some instructions for virtual reality production begin with coding. While learning even the basics of code is important, its incorporation into a class like this is too much. Instead, working with third-party apps could provide one option. Another, lower bar option could be creating a 360-degree video. Now just to find a 360-degree camera…

No one semester will include all of these assignments, particularly since the course assumes no previous moving image production experience and because each project involves multiple programs and some special equipment in order to make it all happen.

Have something you want to ask or add to this post? Leave a comment below, or reach out to me on Twitter @documentarysite.

Posted on December 29, 2018December 29, 2018 by Documentary Site 0

Revisiting Teaching Op-Docs

Op-Docs refers to the short documentary video series curated by The New York Times. Op-Docs showcase an array of documentary storytelling styles and address a diversity of social issues. I have used Op-Docs as a pedagogical model for short documentary production and am considering them again as I develop an advanced multimedia production class proposal.

In Spring 2015 I first taught Op-Docs as part of an advanced news reporting class at a small women’s college in Baltimore. Two years and a seven-state move later, I incorporated similar lessons into a half semester of a news reporting and editing class. The course description required a public affairs focus, primarily through writing. The incorporation of video diverged from the usual course.

The public affairs focus helped narrow the course to a point, but it raised the question of how to make such a broad subject more accessible? A list of social issues from the Library of Congress helped. Through short brainstorming assignments, class discussions, and individual conversations, students chose one topic to research and report on for the entire semester. Every assignment needed to address the subject in some way.

The thinking was that students needed to develop some expertise on their topic before making the video. That background could help make the video production questions easier. For example, if students interviewed an expert for a written story, that expert could become potential video interview for the short documentary. For another example, if students engaged an interesting angle in a written story, they could develop that angle further in the video.

Students chose diverse topics: mental health stigmas, online privacy, domestic violence, solar energy, indigenous cultures, noise pollution, gangs, paying student athletes, and sex education. After doing some background work on their topic in Lexis-Nexis, they began the written assignments.

The first written assignment was a person-on-the-street story. I have used this assignment extensively in other reporting classes at both rural and urban campuses. It worked best in Boston when my students walked to Cheers (yes, that Cheers) and asked people there about their hoped-for presidential candidates. Repeating that assignment for this class resulted in two challenges: approaching the wary community and phrasing the question. How do you develop a general question about an issue that people on the street might not know about? That challenge helped set up the thinking not only about reporting but also about the documentary hook.

After a series of other written assignments, the class segued to video production during the seventh week. The first video assignment paralleled the first written assignment: a person-on-the-street assignment requiring video recording. The same challenges emerged, but with some additional curveballs: getting signed consent, finding a quiet place, and overcoming even greater reluctance from potential participants. Either way, the videos became useful touchstones for developing the short documentary.

The other video assignments followed a sequence: pitch, script, rough cut, and final cut. The pitch and the rough cut included class discussion and peer review. The script assignment was skipped to allow more time for researching, filming, and editing.

Similar to my previous time using this approach, students struggled most with finding people to interview. It required intensive brainstorming beyond the work they had already completed for writing assignments. This campus just recently started a film and media studies program, but it focuses primarily on fiction storytelling. The mass media program here focuses primarily on writing, so sights of student camera crews working on campus are rare. Perhaps if these crews happened more frequently, the community might be more supportive and engaging.

Interesting to me, students found it easier to maintain a balance among their personal views, their participants’ views, and their films’ stories. In a previous class, some students struggled with what people spoke about in interviews and what they “wanted” from people. They hadn’t developed a trust in their participants and in themselves, and that kind of trust comes with time and practice. Here, while students maintained a stake in their subjects, they also maintained a professional, but empathetic, distance.

Overall, the students’ final shorts were really good. They were required to have three interviews, but otherwise they were free to approach the films however they wanted. Most chose interviews combined with observational footage and on-screen titles.

I recount this experience here toward thinking about what a semester-long course on online documentary production might look like. The short video plays an important role in documentary storytelling, sometimes in theatrical distribution but more so in online enviroments. For example, short documentaries serve as part of web series, advocacy campaigns, interactive experiences. But what about building something more, such as an entire interactive documentary or an augmented reality app? What additional skills might those options involve? What other equipment, platforms, or programs might be needed? Are either of those possible in a stand-alone, semester-length class?

We shall see. In the meantime, I welcome your thoughts and questions in the comments below.

Posted on July 2, 2018July 25, 2018 by Documentary Site 0

Answering the Call from Herman in ‘The Deeper They Bury Me’

An opening screen sets the background for Herman’s story and sets up the unifying narrative for users.

Sometimes a story is so tragic that it needs multiple media versions to encompass its depths and traumas more fully. Herman Wallace’s more than 40 years of solitary confinement offers just that kind of story.

Solitary confinement isolates a prisoner within a 6-by-9-foot cell for 22-24 hours a day. Prison guards provide the only human contact. Length of confinement ranges from days to weeks, but can extend to years or even decades, as in Herman’s case. The psychological effects of this punishment are devastating.

Herman’s story has inspired an art installation, a documentary, and an interactive documentary. In 2003 artist Jackie Surnell asked Herman, “What kind of house does a man who has lived in a six-foot-by-nine-foot-cell for over thirty years dream of?” Based on his answers, Surnell created an installation titled “The House that Herman Built.” That installation later inspired the documentary film, Herman’s House, directed by Angad Bhalla.

From the National Film Board of Canada, The Deeper They Bury Me: A Call from Herman is an interactive documentary that extends Herman’s story with solitary confinement. The Deeper They Bury Me, created by Anghad Bhalla and Ted Biggs, places users at the other end of a phone call from Herman. They listen to Herman’s own words, and they also can explore scenes from his past and present, including a room in his dream house.

This web-based interactive documentary begins after clicking “A Call from Herman” on the opening screen, and Herman previews his experiences, talking about his cell, its size, and his lack of freedom for even in that one hour outside his cell, he is in chains. He says, “I can only dream — that’s what the house is all about.”

After his introduction, a phone rings, and a green prompt tells users to answer. The automated voice of the prison phone system tells the name of who is calling, how to accept the call, and how long remains on the call. A 20-minute timer counts down in the lower right of the screen. At various times the automated phone voice interrupts to remind users of the time remaining.

Three of the modules users can click to learn more about Herman’s story.

The visual component consists of a gray space with sketches in the foreground and background within a 360-degree circumference. The background sketches set the prison scene with guard towers and fences. The foreground images offer thematic modules about Herman’s background, though some only become active after completing the available modules first, possibly in attempt to control the timeline. Some images include a wagon, shackles, justice scales, prison guard tower, a house with a rose, and a bird cage with an open door.

Some modules, like the wagon, offer an audiovisual sequence, including archival footage and music, with Herman’s voice explaining his upbringing. Other modules encourage more exploration with highlights around objects that grow brighter and emit a sound effect to encourage clicking on them. These objects then offer another angle to Herman’s experiences as connected to the item.

In the rose house, for example, appears a mock-up of Herman’s ideal bedroom, with an open layout, a nearby greenhouse, and a generous bathroom. Objects include a book, bearskin rug, greenhouse, and a bathtub. For the most part, clicking objects results in more commentary from Herman. With the bearskin rug, for example, he admits that he would get rid of it because he sees it as inhumane. With the bathroom he seeks something much larger than his cell. On clicking the book, however, a series of interviews with prison architects and similar experts plays, and they discuss both Herman’s house, the psychology behind it, and their own prison designs. One expresses some regret in designing solitary confinement cells.

The sketch of Herman’s ideal bedroom offers users the opportunity to explore Herman’s home and to learn more about the effects of extended solitary confinement.

The solitary isolation cell offers another space to explore. The clickable items include a light, the door, a potato jar, toilet, and a Malcolm X poster. With the potato jar, for example, Herman explains how he would keep a potato and how it compares to a fish in a small aquarium. Both confinements limit potential growth. He then compares them both to his own existence: “It’s the same thing with human life.” As Herman speaks, animations illustrate his comments. Herman discusses prisoners committing suicide, and an animated noose swings by. As he discusses the constant surveillance, even while on the toilet, large, animated eyes appear.

If users fail to click on anything in a timely manner, excerpts from Herman’s phone calls play, or Herman will ask about them still being there. Within each section a progress bar oddly counts the time elapsing, not remaining. Users can toggle this timer to listen to different parts of the audio, or they can click an arrow to return to previous screens.

Navigating the space created within The Deeper They Bury Me requires some care, especially with touchpads. I attempted to interact this piece on a laptop, and when trying to “look around” the space using two fingers as I usually do for scrolling, the interface would often send me back to the previous screens. Switching to a mouse eliminated this problem.

A timer reminds users how long they have before the call ends.

The timer from the prison telephone system as a unifying device offers mixed results. On a narrative level, it integrates users into the experience, giving them a dedicated role and thus a more immersive experience. On an interactive level, though, the timer continues counting throughout the “call,” and the automated voice interrupts whatever plays in the module. But 20 minutes is not enough time to complete exploring all the sections and listening to all the comments. As the timer winds down, the interactive documentary sends users to the epilogue no matter their location in the modules. Perhaps that is the point, though it remains unclear.

This interactive documentary operates largely without instructions on how to engage with its materials. The few titles and text blocks that do appear connect with the story, but they do need more balance between exposition and instruction. The “Hear more from Herman” button, for example, offers no clear indication of what that button might do. That “more” might refer to essays, external links, or even a restart. It actually sends users back into the experience without the timer.

Herman Wallace spent 40-plus years in solitary confinement. After appeals and declining health, Wallace was granted release October 1, 2013. He died just three days later, on October 4, 2013. All three of these multimedia materials tell his story and raise awareness about the horrors of solitary confinement.

Posted on July 25, 2017February 12, 2019 by Documentary Site 0

Navigating Violence and Alma’s Story in an Interactive Documemtary

The opening screen of Alma: A Tale of Violence

In order to make interactive documentary reviews more focused and systematic, I will use the following outline: platform(s) used, story and structure, user role, navigation directions, navigation execution, and overall comments. Released first in 2011, Alma: A Tale of Violence represents my first application of this approach.

Alma: A Tale of Violence is an interactive documentary available online, on the iPad, and on Android. One of the earlier of the next generation of interactive documentaries, it tells the story of Alma, who joined a Guatemalan gang as a teen and managed to leave with her life as an adult. This review focuses on the web and iPad versions.

The primary story in Alma: A Tale of Violence belongs to Alma herself. In an almost 40-minute video interview, Alma recounts her childhood, gang initiation, gang life, and life thereafter. The interview frames Alma in medium and close-up shots, ensuring our identification with her, though it also offers cutaways to her tattoos and fidgeting hands. Interestingly enough, that framing hides the fact that Alma is now confined to wheelchair.

Alma’s story is harrowing. Alma explains how the gang offered acceptance, belonging, support, and purpose — things unavailable at home.

One price for that belonging, though, is a life of violence. As part of her initiation, Alma helped members kill a woman whom they had just raped. Another part of her initiation involved the choice between her own rape and being beaten. Alma chose the beating because she didn’t want to appear weak.

Another price for that belonging is a lack of freedom. The gang dictated its lower-ranked members’ activities, which often involved collecting protection fees and killing those who refused or couldn’t pay. Alma killed one person for this reason.

Though not explicitly articulated, a third price for that belonging is fear, particularly of the violence turning back on Alma herself. Alma left without permission for two years, and when she returned, she feared the gang’s retribution. This time, none came — they invited her back in. After becoming pregnant and suffering abusive relationships, Alma requested to leave the gang altogether. They beat her briefly, and she left the meeting thinking the situation fine among them. As she walked away, bullets flew. One struck her and left her paralyzed. The bounty still remains on her head.

While this interview plays, a secondary storyline appears above her. The upper “track,” for lack of a better word, offers a combination of still images, B-roll, archival images, sketches, and animations. Sometimes, the upper track offers a thematic connection to Alma’s recollections, such as the pictures of poor neighborhoods. Other times, the upper track depicts Alma’s recollections, such as the animated illustrations of her gang initiation or of a gang rape. Though nonetheless disturbing, the animations offer ways to show the violence without spectacle.

The Maras module from Alma: A Tale of Violence

In addition to the video sequence, Alma features four information modules that offer background about Guatemala, maras, violence, and prevention. Each module appears like a slideshow, with images, statistics, and quotes. Some of the images also appear in upper track of Alma’s interview, but overall this part remains separate from it.

The integration of user, navigation, and narrative ensures a cohesive interactive documentary experience. Casting the user in a role helps with this integration. Alma, though, offers no particular role for its users. The directions only tell users how to access the content, which amounts mostly to swiping on the tablet or moving up and down with a mouse and to tapping or clicking on these respective devices.

The navigation in Alma is straightforward and largely similar between the web and iPad versions. The interview with Alma herself allows the expected starting and stopping of the video, as well as scrolling up to see the upper track and scrolling down to see Alma again. Users can choose not to switch between tracks as well. But, other than the up and down, start and pause, no other interactive features appear in the video.

The modules offer even fewer interactive features. An internal table of contents allows skipping through the modules’ information, or users can progress through each one sequentially, slide by slide, with a click or a tap.

While the navigation’s simplicity allows for easy access to all parts of this interactive documentary, its simplicity undermines the interactive documentary’s cohesiveness. The narrative disconnection between the video interview and the information modules also fails to help create a sense of unity. Overall, the interactive options here remain quite limited.

One of the sketches appearing in Alma: A Tale of Violence

That said, Alma still tells a powerful story. One thing I greatly appreciated about this interactive documentary was the extended interview. Too often in contemporary documentary participants speak briefly, providing on-point information and focused emotion while revealing little about their character or personality. Alma’s screen time allows her to explain her backstory, her motivations, her fears, and her outcomes. The story proves difficult to tell (and hear, for that matter), and Alma breaks down at certain points. The camera continues rolling, but no voice or editing transition interrupts her thoughts.

Another thing I appreciated was the background information’s separation from Alma’s narrative. Balancing oral storytelling and factual details provides a difficult line to walk, with the facts often interrupting the flow of more personal details. The separation ensures a smoothness to Alma’s extended interview that might not be there otherwise.

Posted on June 13, 2017February 12, 2019 by Documentary Site 0