Documentary YouTube bibliography list from Dr Strangeglove’s online YouTube bibliography compile:
Beattie, Debra. ‘Documentary Expression Online: The Wrong Crowd, A History Documentary for an ‘Electrate’ Audience.’ Studies in Documentary Film 2, no. 1 (2008): 61–78.
Hight, Craig. ‘The Field of Digital Documentary: A Challenge to Documentary Theorists.’ Studies in Documentary Film 2, no. 1 (2008): 3–7.
Juhasz, Alexandra. ‘Documentary on YouTube: The Failure of the Direct Cinema of the Slogan.’ In Thomas Austin, ed. Re-Thinking Documentary. New York: McGraw Hill, 2008.
Landesman, Ohad. ‘In and Out of this World: Digital Video and the Aesthetics of Realism in the New Hybrid Documentary.’ Studies in Documentary Film 2, no. 1 (2008): 33–45.
Sørenssen, Bjørn. ‘Digital Video and Alexandre Astruc’s Caméra-stylo: The New Avant-garde in Documentary Realized?’ Studies in Documentary Film 2, no. 1 (March 2008): 47–59.
Vladica, Florin, and Charles H. Davis. ‘Business Innovation and New Media Practices in Documentary Film Production and Distribution: Conceptual Framework and Review of Evidence.’ Working Paper, Faculty of Communication & Design and Rogers Communications Center, Ryerson University 12 October 2008.
Chris let me know recently about a online documentary that he made titled ‘Thumb Candy’ on SMS text culture in the Philipphines that he put together within a blog. He gives Videodefunct a plug on the More about the project page as being an influence on using tagging and a blog to classify the video content.
I did some research on this korsakow application awhile back and wanted to note the link. There is certain flexibility like creating rule scenes. From the abput page:
They are interactive – the viewer has influence on the film. They are rule-based – the author decides on the rules scenes relate to each other, he does not create a fixed order. They are generative – the order of the scenes is calculated while the viewer looks at a Korsakow-project. Korsakow-projects can only be viewed on a computer. They are delivered via internet-streaming, DVD-Rom or CD-Rom.
Not long after getting up the first prototype version of videodefunct published, the Palabras project appeared on the video vortex mailing list:
Palabras, which means “words” in Spanish, is a set of software tools and interfaces designed to facilitate collective self-representation, and promote social inclusion through participatory media production. Typically, in workshops at local cultural centers at each Palabras site, participants learn to use inexpensive digital video cameras to document their daily lives and a custom-built web application to edit, organize, and share their videos online.
There is a demo video of screenshots to show how it works. The emphasis on tags and participatory content creation is excellent.
The web application was devised to facilitate the discovery of connections between participants’ personal stories, at each site and across cultures, allowing participants to label or “tag” their own video content and create an emergent, social taxonomy – or “folksonomy” (folk+taxonomy).
1000 stories is a project by Florian Thalhofer and Mark Simon.
These are vignettes of people in a type of environmental portraiture style. Florian in a vlog structure publishes candid interviews where he lets the people talk openly, along with short clips that he narrates their personal stories over the top of with subtitles in English and other written stories with supporting images. These posts viewed as a group begin to demonstrate his simple intention to provide his viewpoint on another country through a process of interaction with people with a video camera. The varying approaches used to capture these stories also begin to utilise the multi-format nature of a blog where there is a potential to document a subject in a number of ways using mixed-media.
The project description:
Starting in New York on October 1, Florian Thalhofer, a new-media artist and documentary filmmaker from Berlin, will travel all over the United States by motorcycle (generously provided by BMW), while U.S. filmmaker Mark Simon will travel throughout Germany by car. During their month-long journeys, each filmmaker will write about his experiences, collect stories, and conduct interviews, all of which will be posted daily at www1000stories.com – their video log.
Their route will be determined by interested folks in the U.S. and in Germany who reply to their “Americans wanted”/ “Germans wanted” ad on the web. Readers are invited to get in touch via www1000stories.com to suggest itineraries and potential interview candidates and to comment on the project.
ipods are great for research – I watched and listened to on the train a video download from the conference Beyond Broadcast 2006 Reinventing Public Media in a Participatory Culture hosted by the Berkman Center for Internet & Society at Harvard Law School. I checked out the talk by Peter Armstrong from OneWorld.net as part of the ‘Panel II: What the emerging participatory web media services are doing’. He focused on video online in his talk referring to the following sources:
http://democracynow.org/
wimax
BBC creative futures press release 25.04.2006 Issue here with the walled garden conundrum of keeping people – traffic inside the BBC web site. Also, in locking out or monitoring contributions from outside ‘gatekeeping’ – How participatory or interactive is this option?
http://www.current.tv/
http://www.radioopensource.org/
oneworld articles on participatory video
oneworld video campaign for the G8 summit
Some of his points. With interactivity the podcast mode cuts this off i.e democracynow video. Interactivity for Armstrong is about liveness where the audience has the chance to email, phone-in be actively involved. A key part of his talk was the question for video databases – Make your own work and host it; or tag other work across the Internet (like google video for example); or just aggregate other work. Also, Armstrong believes ‘freedom’ is the significant objective for media producers, where they are not tied to or beholden to media organisations or governments.
This quote is amongst some writing about a recent new media documentary master class on mediamatic. I liked the idea of using a blog as a tool to engage in a two-way conversation as part of the project.
Florian Thalhofer, who is the inventor of the Korsakow system, showed his latest interactive multichannel documentary project about a social housing project in Bremen-Nord. He spent a month in Bremen to film and interview the locals and kept an online diary so that people could react to it immediately. So he used the Internet as well as live images as a basis to create an interactive film.
Creative Commons have a tool ccPublisher for tagging video and audio with a creative commons license:
“ccPublisher is a tool that does two things: it will help you tag your audio and video files with information about your license and it allows you to upload Creative Commons-licensed audio and video works to the Internet Archive for free hosting. You also have the option of publishing the licensed and tagged audio works on your own site.”
Other notes on the ccPublisher CC in Review: Lawrence Lessig on CC Tools
A link to notes on self-hosting the license on you own server and more notes on embedding a license.
The BBC Innovation Labs 2007 covers amongst other things some valid questions on online documentary production. Note ‘UGC’ is an acronym for User-Generated Content.
Cross Platform Documentary: The growth of social media services had led to an explosion of new and innovative ways of realising and delivering documentary online. How can films be made, presented, shared, augmented, annotated, located, classified and discovered using these new tools? What impact does this have on the craft of documentary and what models should be explored in the future? How can we discover what constitutes documentary in the digital space? Does it have to be ‘snackable’? Can it be modular and episodic? Is it possible to be an auteur and simultaneouslly incorporate UGC content?