Interactive digital media have greatly affected the logics of production, exhibition and reception of non-fiction audiovisual works, leading to the emergence of a new area called “interactive and transmedia non-fiction”. One of its key points is that it can deal with factual material in such a way that it influences and transforms the real world around us. With this issue we aim to offer a scholarly perspective on the emergence of transmedia forms, their technological and aesthetic characteristics, the types of audience engagement they engender, the possibilities they create for engagement with archival content, the technological predecessors that they may or may not have emerged from, and the institutional and creative milieux in which they thrive.
TABLE OF CONTENTS
EDITORIAL
Transgressing the Non-fiction Transmedia Narrative Arnau Gifreu-Castells, Richard Misek, Erwin Verbruggen
DISCOVERIES
Story, History and Intercultural Memory: Can a Transmedia Approach Benefit an Archive-Based Documentary Project? Marida Di Crosta, Anita Leandro
Interactive Graphic Journalism Laura Schlichting
Aligning Participation with Authorship: Independent Transmedia Documentary Production in Norway Joakim Karlsen
Crossroads. Life Changing Stories from the Second World War: A (Transmedia) Storytelling Approach to World War II Heritage Licia Calvi, Moniek Hover
I’m Sorry I Don’t Have a Story: An Essay Involving Interactive Documentary, Bristol and Hypertext Adrian Miles
EXPLORATIONS
Small Change – Big Difference: Tracking the Transmediality of Red Nose Day Matthew Freeman
Emergent Principles for Digital Documentary Richard Lachman
Korsakow Perspective(s): Rethinking Documentary Knowledge in Digital Multilinear Environments Franziska Weidle
A Transmedia Topology of ‘Making a Murderer’ Alan Hook, Danielle Barrios-O’Neill, Jolene Mairs Dyer