Interactive Extensions and Documentary Film

Interactive extensions & documentary film - The visual approach to a New Objectivity | Nico Licht | HdM Stuttgart
Figure Index
Fig. 1
http://news.bbc.co.uk/onthisday/hi/dates/stories/april/1/newsid_2819000/2819261.stm BBC Website | 11.07.07 | page 14
Fig. 2 + 3
http://news.bbc.co.uk/onthisday/hi/witness/april/1/newsid_4362000/4362667.stm BBC Website | 11.07.07 | page 14
Fig. 4 + 5
http://www.cbc.ca/arts/story/2006/08/08/photo-alter-beirut.html CBC Website | 11.07.07 | page 16
Fig. 6
http://www.spiegel.de/panorama/0,1518,grossbild-916762-494302,00.html Spiegel Website | 13.07.07 | page 18
Fig. 7
http://news.bbc.co.uk/1/hi/entertainment/6294472.stm BBC Website | 13.07.07 | page 18
Fig 8
Own illustration. Quote: James Joyce. (McLuhan. 1964. Understanding Media - The extension of Man. 313) | page 19
Fig. 9 + 10
Screenshot from an Event Documentary (own source) | page 21-22
Fig. 11
Study Work (own source) | page 22
Fig.12
Own illustration. Quote: Roland Barthes. (ed. Klanten, Bourquin. 2004. dos logos: A Selected Logo Collection. 005) | page 23
Fig. 13 + 14
http://www.tagesschau.de/sendungen/0,,SPM7_OID7344510,00.html ARD Tagesschau, Webvideo Screenshots | 24.08.07 | page 26
Fig. 15 - 25
Dziga Vertov - The Man with the Movie Camera, DVD Screenshots | page 26-28
Fig. 26
Own illustration. Quote: Berthold Brecht. (Brecht. thinkexist.com.) | page 29
Fig. 27
Own illustration. Quote: Alan Kay. (Moggridge. Designing Interaction. 683) | page 37
Fig. 28
Own illustration. Quote: Marshall McLuhan. (Carson. 2003. Marshall McLuhan - The Book of Probes. 384) | page 43
Fig. 29
Own illustration. Interaction Design Process Model. (Moggridge. 2007. Designing Interactions. 130) | page 51
Fig. 30
Own illustration. Quote: Rem Koolhaas. (Wikipedia. Rem Koolhaas.) | page 52
Fig. 31
Interactive Video - Front-end - Screendesign (own source) | page 54
Fig. 32
Interactive Video - Back-end - Screendesign (own source) | page 55
Fig. 33
Interactive Video - Fullscreen Mode - Screendesign (own source) | page 56
Fig. 34
http://www.sonybiz.net/biz/view/ShowProduct.action?product=DSR-PD170P&site=biz_ de_DE&pageType=Overview&imageType=Main&category=DVCAMCamcorders Sony Website | Camcorder PD 170 p | page 59
Fig. 35
http://www3.canon.de/pro/vid/dig/xh_a1/foto_xh_a1 Canon Website | Camcorder XH A1 | page 59
Fig. 36
Illustration - Interactive Video Production Sketch (own Source) | page 61
Fig. 37
Own illustration. Quote: Google. (google.com, Google Corporate Information: Our Philosophy.) | page 65
Icon Index
The following ICONS have been created to show The visual approach to a New Objectivity. Throughout this thesis a combination of these ICONS will illustrate various issues.
Table of Contents
Introduction 1. DOCUMENTARY FILM - A little less disorientation a little more interaction please The Definition of Documentary Film 1.1 Mockumentaries & False Reality - How easy it is to trick the audience 1.1.1 1.1.2 1.1.3 Mockumentary False Reality Conclusion Page 12
Page 13 Page 13 Page 14 Page 14 Page 16 Page 18 Page 19 Page 20 Page 20 Page 21 Page 22 Page 22 Page 23 Page 24 Page 25 Page 25 Page 26 Page 28 Page 29 Page 30
Quote - James Joyce 1.2 Visual communication - How signs influence the media 1.2.1 1.2.2 1.2.3 1.2.4 Icon, Index, Symbol Denotation and Connotation Semiotics in a wider context Conclusion
Quote - Roland Barthes 1.3 Vertovs Man with the Movie Camera - Creativity is a strong index for subjectivity 1.3.1 1.3.2 1.3.3 1.3.4 Losing-Conciousness and the Kuleshov Effect Camera-View - Reflection Sequence Analysis: Man with the Movie Camera: Wounded-Man-Sequence Conclusion
Quote - Berthold Brecht 1.4 Hot and Cold Content and the Three Es - A Way to Classify Documentary Content
Table of Contents
1.4.1 1.5 Conclusion Page 31 Page 31 Page 31 Page 32 Page 33 Page 33 Page 35 Page 37 The Point-of-View - Where the Camera Stands 1.5.1 1.5.2 1.5.3 1.5.4 1.6 Direct Cinema and Cinema Vrit The Pensieve Conclusion Possible Point-of-View Scenarios for Documentaries
New Objectivity Quote - Alan Kay
2. 2.1
INTERACTIVE EXTENSIONS - A little more lucent and a little less imbalance The New Channel 2.1.1 2.1.2 2.1.3 2.1.4 What is Web 2.0? Webvideo The Hurdles of Webvideo Structures Conclusion
Page 38 Page 38 Page 38 Page 40 Page 41 Page 42 Page 43 Page 44 Page 44 Page 44 Page 44 Page 44 Page 45 Page 45 Page 45
Quote - Marshall McLuhan 2.2 Interactive Video - Interaction Design Process 2.2.1 2.2.1.1 2.2.1.2 2.2.1.3 2.2.1.4 2.2.1.5 2.2.2 Motivation/ Observation Mockumentaries & False Reality - Observations Influencing Media - Observations Hot and Cold and the Three Es - Observations Multiple Standpoints - Observations The Idea Meaning/ Invention
Table of Contents
2.2.2.1 2.2.2.2 2.2.2.3 2.2.2.4 2.2.2.5 2.2.3 2.2.4 2.2.4.1 2.2.4.2 2.2.4.3 2.2.5 2.2.5.1 Mockumentaries & False Reality - Inventions Influencing Media - Inventions Hot and Cold and the Three Es - Inventions Multiple Standpoints - Inventions The Metaphor Mode/ Engineering Mapping/ Design Control Interface - Front-end Interface - Back-end FAQ on Interactive Documentary Why are the videos not truly interactive? The audience should decide which path to follow within a database of videoclips! Page 45 Page 45 Page 46 Page 46 Page 46 Page 47 Page 48 Page 48 Page 48 Page 49 Page 50
Page 50
2.2.5.2
A conclusion in chapter 2.1.3 was that Dokumentarfilm is not a suitable medium for the Internet, but why are dokuclips part of the New Objectivity? Page 50 Why are there two Pro and two Contra Screens? Who decides which clips to publish? Page 50 Page 50 Page 52 Page 53 Page 54 Page 55 Page 56
2.2.5.3 2.2.5.4
Quote - Rem Koolhaas 2.3 New Objectivity - Prototype (inkl. CD-Rom) Screendesign - Front-end-side Screendesign - Back-end-side Screendesign - Fullscreen-mode
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Table of Contents
2.4 Interactive Video - Production Chain a) Secure a clip from an external source b) Shoot the clip ones self c) Search in a database for an existing clip 2.4.1 2.5 Saving Money When Being Inventive Page 57 Page 57 Page 58 Page 58 Page 59 Page 62 Page 62 Page 63 Page 65 Page 66
Future Extensions 2.5.1 2.5.2 Future Extensions - The Web Future Extensions - Interactive Video
Quote - Google Philosophy 3. SUMMING UP
Eigenstndigkeitserklrung Figure Index Icon Index Bibliography
Page 01 Page 02 Page 05 Page 67
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INTRODUCTION
A little less disorientation, a little more interaction please. This is not exactly what the King of RocknRoll was saying, but he definitely sang come a long with me and put your mind at ease. A mind at ease, that is probably the most common condition when consuming audiovisual media. A huge crowd with a mind at ease can easily be manipulated. (page 14) An interactive application requires active participation (page 30) and that has a higher degree of democracy than television. But Interactive extensions & documentary film? For a documentarian this must sound like nacho cheese & haute cuisine. The narrative of film is linear, which the narration of interactive media is not. The very core of audiovisual media, the linear narration must NOT change within an interactive environment. (page 47) The TV has reached deep inside our culture. Within the rapid rush of pictures, misleading information often stays undetected. (page 16) A single point of view represents just one possible truth. The source of information is not always lucent, but the source is a vital indicator of trust. We are living in a knowledge-driven society. Information is the core resource of this era. (page 62) A device which allows us to sift out just the relevant audiovisual information is needed. A device which provides multiple standpoints, which labels the contradicting view on an event and let the audience experience the contradiction of different truths. (page 44) An interactive videoplayer features these requirements. The technical and editorial specifications allow the audience to experience a new kind of objectivity. (page 35) Broadcasting companies that would use this device could acquire various sources to secure their content. (page 57) Television and internet are merging together. (page 40) There is a new broadcasting channel to discover - for audiovisual news and documentaries.
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1. DOCUMENTARY FILM
- A little less disorientation a little more interaction please
The Definition of Documentary Film

This thesis will deal with the complex terminology documentary film in regards to German media. The terminology does not differ much from other societies. Witzke and Rothaus point out that Der Begriff Dokumentarfilm wird in der Diskussion gewhnlich als abgrenzendes Qualittsurteil benutzt und nicht als Gattungsbegriff, der ein einheitliches Genre definiert. Im Selbstverstndnis der Dokumentarfilmer sind ihre Werke knstlerische Versuche des Umgangs mit der Wirklichkeit, die nicht ber einen Kamm zu scheren sind und sich der Kategoriesierung weitgehend wiedersetzen,... (Witzke, Rothaus. 2003. Die Fernsehreportage. 77) In short, there is not a category that accurately summarizes the various approaches to the broad genre of documentary film. In Germany the expression Dokumentarfilm (documentary film) is publicly seen as a cachet. Nur ungewhnliche und trendsetzende Filme ...bekommen das Gtesigel Dokumentarfilm (Witzke, Rothaus. 2003. Die Fernsehreportage. 77). Within this thesis the term documentary will cover all audiovisual attempts to reflect reality. The term Dokumentarfilm stands for an art-driven approach to reflect reality. Dokumentarfilme are usually costly, time-consuming and require a highly professional producer and a deep knowledge in the fields of film-grammar, visual communication or TV journalism. Dokumentarfilme include the subjective point of view of their directors. Documentarys founding father, John Grierson... defined it (documentary) as the creative treatment of actuality. (Rabiger. 2004. Directing the Documentary. 04) The expression Nachrichtenfilm (Newsreel), a short film of news and current affairs,.. (Apple Computer, Inc. 2005. Dictionary 1.0.1.), will stand for an info-driven approach to reflect reality. Nachrichtenfilme are, due to their fast-moving actuality, produced on a low budget. A high production speed and actuality are the major goals. There is nothing older than yesterdays news. Film grammar as well as an artistic look are less important. The objective approach to journalism is the only reference to its quality.
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Consequently, all documentaries will fit on a line between two terms, Dokumentarfilm and Nachrichtenfilm. The objective side (Nachrichtenfilm) stands for an info-driven approach and the subjective side (Dokumentarfilm) for an art-driven approach. Examples within this paper will be named either Dokumentarfilm or Nachrichtenfilm according to where they fall on the line.
1.1 Mockumentaries & False Reality - How easy it is to trick the audience
People frequently assume documentaries are objective because factual television likes to balance out opposing points of view. This is supposed to ensure a fair, unbiased view of the event and personalities in question (Rabiger. 2004. Directing the Documentary. 07-08) Objectivity is the vital core of journalism and the reason for the public to trust it. Besides the fear of discredit and being proven wrong, newspapers are afraid of lawsuits due to these issues. So part of a journalists professionalism has always been to keep things looking objective. (Rabiger. 2004. Directing the Documentary. 08) But within the usage of complex audiovisual narratives, objectivity is very hard to maintain. Even the decision to record a certain incident from a certain camera angle cannot really be objective. There is even more space for manipulation in the process of editing. The genre of mock documentary, or mockumetary, uses the tactic of tricking the audience by disguising a practical joke in an objective coat. But unfortunately there are examples of mock documentaries within the field of reliable journalism, incidences of a black sheep who manipulated a newsreels objectivity to publish her or his personal opinion.
1.1.1 Mockumentary
On the 1. of April, 1957, the British Broadcasting Corporation (BBC) fooled the British nation. The spoof documentary about spaghetti crops in Switzerland showed the spaghetti harvest in Switzerland:
Fig. 1-3 | Spaghetti Harvest
In Switzerland, close to the Italian boarder, the people are looking forward to an
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exceptionally heavy spaghetti crop. For the Swiss it tends to be more like a family affair. There is no comparison to the big spaghetti plants in the Italian Po-valley. After picking, the spaghetti is laid out in the warm alpine sun. The uniform length is the result of patient endeavours by plant breeders who succeeded in producing the perfect spaghetti. Fresh from the garden to the table. For those who love this dish, there is nothing like real home-grown spaghetti. (BBC.co.uk, Video. 1957: BBC fools the nation.) After broadcasting, the audience was not sure about the April Fools clip. ...some viewers failed to see the funny side of the broadcast and criticized the BBC for airing the item on what is supposed to be a serious factual programme. Others, however, were so intrigued they want to find out where they could purchase their very own spaghetti bush (BBC.co.uk. 1957: BBC fools the nation) The BBC Website provides some memories of those fooled by the spaghetti spoof. We never had real spaghetti at home-only the sort in tin seemed to be available for quite a while after the war...J Hall,UK ...Yes I remember - my girlfriend Jill would not talk to me for a week as she insisted that pasta really grew on trees and I told her she was absolutely silly to think that. I still think about it and am now 62. M McCusker, USA. (BBC.co.uk. 1957: Spaghetti fools) Audiovisual mass media, especially TV, has a strong influence on its audience. We are used to believing what we see (with our own eyes). Written or told rumours are often challenged, but when it is visual, it is trusted the most. In 2002 the Tunisian filmmaker William Karel directed a mockumentary about the Apollo 11 moon landing in 1969. Karel revealed in his film Opration Lune that the Americans never landed on the moon. With help from director Stanley Kubrick they built the set of the moon in a film studio. Most of the people appearing in the documentary were well-known, such as Kubricks widow, Donald Rumsfeld, Buzz Aldrin and Henry Kissinger. Some of the protagonists were even named after places and characters in fictional film history, often from Kubicks other pieces. The interview bits were so cleverly edited that they completely changed the context. It seemed like people such as Henry Kissinger (who served as the 8th United States National Security Advisor back in 1969) confessed the big moon-landing as fake. Unser Grundgedanke war, dass man nicht alles glauben darf, was die Medien uns weismachen wollen, denn Zeugen kann man zur Flaschaussage bringen, Archivmaterial trken und Beitrge durch falsche Untertitel oder Synchronisation vllig entstellen. (arte.tv. Gesprch mit William Karel.) The film was aired on Arte in 2002. Todays media technology offers various ways to sample and reorganize and to
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manipulate and fake the footage within the post-production process. Digital production technology can be used to mislead the public. These two examples are crucial pieces of enlightenment - they hold a mirror up to society and show them how easy it is to trick them. Medias self-criticism is a crucial step to gain more objectivity.
1.1.2 False Reality
Since the product is a fake, objectivity plays a very little role in mockumentaries. This is very different to everyday life in journalism where objectivity is always an issue. When this approach is lacking, visual-journalism loses integrity. This happened in the summer of 2006 when ...Reuters photographer Adnan Hajj was covering the Israeli-Lebanon conflict until blogger Charles Johnson publicly exposed the repetition of Beirut buildings and billowing smoke in one Hajj picture. This Reuters photograph shows blatant evidence of manipulation, wrote Johnson, speculating that it was done using Photoshops clone tool. (Dayus. Parting Shots. Ryerson Review of Journalism. Spring 2007. 50) This was clearly a violation of objectivity. However there is always a personal opinion involved in reporting. Each reporter has an opinion on certain topics, especially when she/he has been doing investigative journalism for a long period. But a subjective standpoint can be very dangerous for the integrity of a news corporation. ...Keith Morrison, a former Calgary Herald photographer who is now publisher of C-ing Magazine, a publication about photojournalism. But now, as the public gains awareness of digital photography and Photoshop, they have stopped trusting the pictures in newspapers and magazines. (Dayus. Parting Shots. Ryerson Review of Journalism. Spring 2007. 51) Reuters fired his photographer after Johnsons claim was found to be true and they found even more evidence of manipulated photos.
Fig. 4-5 | Hajj photography, before and after the manipulation
It is not just a distinct medium like a photo that is vulnerable to manipulation. A
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Nachrichtenfilm shown in ARD Sportschau on 30. May 2007 includes a false picture to underline an accusation related to a doping affair in cycling. One week before the start of the Tour de France the German Sports-magazine Sportschau aired on ARD (Germanys leading broadcasting company) and revealed a story based on the information of a secret eye-witness who accused the Vice President of the BDR (Bund deutscher Radfahrer) of being involved in a doping affair. His boss, the president of the BDR and former minister of defence, Rudolf Scharping found a picture within the Nachrichtenfilm which he said, had nothing to do with the case. The picture showed a prosecution-paper of a former trial, which was related to another case. Scharping also said that the secret eye-witness should be named to the public prosecution service. Two days later the German magazine Spiegel published a story on this incident in their online issue. The story said that Scharping threatened the Sportschau presenter in connection with the accusations in the Nachrichtenfilm. The misleading pictures was not mentioned at all. (Schallenberg. spiegel.de. Schweigen hilft nicht mehr.) Whether this picture is true or not it is just a fraction of the whole videoclip (even if it is a very crucial part). On the other hand, the medias reaction to somebody who accuses a reporter of being subjective was quite sensitive. It must be allowed to criticize the media. If a journalist is trying to enlighten the public about an issue, she or he might use misleading footage to prove a point. Although this is technically wrong, in some instances, the end might justify the means. But this is still a betrayal of the audience when sailing under the flag of objectivity. This report is based on a personal opinion. The author has no evidence to prove the usage of a wrong picture, but it is still worth mentioning as it shows how easy it is - or it would be - to fake a Nachrichtenfilm. Recently a report was made that did use real footage, but it was edited in a way that did fake the film. A BBC trailer from a documentary on the Queen of England, which should air in autumn, shows an incident which did not happen - or more precisely, which did not happen in that order. The BBC was covering the Queens photoshooting with Star Photographer Annie Leibovitz when the misleading montage happened: In the footage the Queen walks into a room in Buckingham Palace, cluttered with camera equipment, wearing her crown and her Order of the Garter robes. Leibovitz tells her: I think it will look better without the crown because the Garter robe is so... But before the photographer can finish saying extraordinary, the Queen gives her an icy stare and replies: Less dressy? What do you think this is?
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The next sequence shows the Queen walking down a corridor, saying to a lady-inwaiting: I am notchanging anything. Ive had enough dressing like this, thank you very much. This sequence actually preceded her arrival at the shoot. (Sherwin. timesonline.co.uk. Crisis of trust BBC says sorry again.)
Fig. 6-7 | The Queen at the photo shooting and after when she leaves the set
All pictures are true, but the editing changes the meaning of the scene completely. The TV Station, however, felt badly about the incident. The BBC would like to apologize to both the Queen and Annie Leibovitz for any upset this may have caused, the corporation said in a statement. (BBC.co.uk. BBC apologized over Queen clips.) This is not meant to be a global accusation against journalism. The integrity of journalism is one of the great achievements in western societies. But there are black sheep among the people in this field who change the reality according to their personel opinion. Usually these incidences remain undetected within the rapid rush of pictures. The audience must trust their mass media. Todays enlightened audience probably needs more than just one objective perspective. This topic will be discussed later on in this thesis. The process of media production must be transparent to avoid unfair manipulation.
1.1.3 Conclusion
Nowadays, the audience can be easily tricked. The rearranging of the footage offers especially unlimited potential for manipulation. The self-critical role of mockumentaries is a great achievement that sheds light on this method of manipulation. News production must be transparent to avoid unfair manipulation. The goal of having objective journalism is a great achievement of western societies. The credibility of journalism must be protected. A new media which provides more than just one objective view would support this task!
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Fig. 8
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1.2 Visual communication - How signs influence the media

Visual communication is a discipline which touches both journalism and documentary. Harris and Lester wrote in their book on visual journalism: As words and pictures become further merged, the combined role of writer, photographer, infographics creator, researcher, and graphic designer demands a new job description - the visual journalist. (Harris, Lester. 2002. Visual Journalism. 37-38) At the bottom of visual communication lays the field of Semiotics ...the study of signs. A sign is defined as anything in a visual array that has meaning for the viewer (Harris, Lester.2002. Visual Journalism. 37-38) Semiotics are crucial for the process of media production. Media producers must be aware of the power of the pictures they are going to publish.
1.2.1 Icon, Index, Symbol
Icon, index and symbol are determinations at the core of semiotics. The icon represents something, e.g. a chair. The index is a pointer, it refers to something, e.g. a smoking chimney is an index for fire. The symbol is just arbitrarily linked and must be learned in its cultural context, e.g. a certain uniform represents the police. In the previous chapter, Hajjs photomontage of the smoking buildings is a reference for fire. In this case, not for a cozy fireplace, but for destruction and damage because of war. By editing this photo, Hajj projected his subjectivity on the report. The Israel air strikes caused tremendous damage and brought harm to the Lebanese population. He underlined the circumstances by adding more smoke. The point is not if this was wrong or right, the point is that he gave up his objectivity. Visual journalists must be aware of how a graphic designs impact can be enhanced or diminished because of the various meanings a sign might have for all possible viewers within a mass communication context. (Harris, Lester. 2002. Visual Journalism. 37-38)
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1.2.2 Denotation and Connotation
An other semiotic classification is the determination of denotation and connotation. Denotation refers to the obvious surface and connotations reveal the meta-level, a view under the surface. The following picture is a still, taken from an event documentary. The denotation in this picture is easy to decode: Three men in a hall. One man is pointing, another man is holding his chin, the third man is looking at the one who is pointing. So far so good, but this is not everything which can be seen in this picture. There is more to discover under the surface. The picture connotes that the man who is pointing is in control, that he is demanding and probably in a rush. The man who is holding his chin has to solve a problem. His gesture connotes that he is thinking, trying to find a solution. The third man is looking at the man who is pointing. He has a question or a concern but he is waiting till he gets the attention of the pointer. This connotation of a single picture is relatively sophisticated. One can imagine that an array of pictures within a film-sequence must be even more complex, but holds a wide range of creativity for the director. Connotation is a cultural activity in which the filmmaker tries to draw the audience along a path of metaphysical speculation. (Rabiger. 2004. Directing the Documentary. 146)
Fig. 9 | denotation and connotation
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1.2.3 Semiotics in a wider context
A single picture, however, can be examined in a wider context as well. This can be seen within the field of mass-communication. Imagine that the still-picture is part of an advertising campaign and was published in a magazine. A viewer or potential customer would first decide how to classify the visual information before she/he has another look. The viewer would experience this example as rhetoric redundancy and ideological redundancy (Eco. 1972. Einfhrung in die Semiotik. 297) which means that the viewer is aware of the fact that the picture is part of an advertising campaign. Since the viewer is aware of the process of manipulation, he decides to take another look according to his interest in the product, the brand or the advertisement.
Fig. 10 | Persuasive approach
Fig. 11 | Artistic approach
Unlike the example on the right side. The well-known advertising claim Im loving it is connected with a VW Beetle. The logos of Mc Donnalds and VW are merged together. There is no index for a persuasive advertising campaign. The viewer would see this picture as an artistic approach to visual communication, probably a playful approach to the omnipresent publicity of major brands. The viewer would experience this example as rhetoric information and ideological information which means that the viewer sees no attempt of persuasion by a company. (Eco. 1972. Einfhrung in die Semiotik. 297) She/He would see this example as a piece of art. Visual art has a high value to the audience. Because art is not persuasive like advertising and art does not aim to be either objective or informal. The subjective view of an artist can be seen as a free and trustworthy standpoint. This applies to visual and audiovisual art.
1.2.4 Conclusion
Pictures are at the vital core of visual communication. A manipulated index can give the viewer a misleading impression that consequently changes the content of a message, as seen in the Hajj example. Visual journalists as well as documentary producers must understand the grammar of visual communication. When consuming news, people rely on autonomous sources. Journalists are known for their impartiality, but artists are trustworthy as well. Designers, photographers and visual artists are professionals in the field of visual communication and could be a second force in the news-industry.
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Fig. 12
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1.3 Vertovs Man with the Movie Camera - Creativity is a strong index for subjectivity
Creativity is a strong index for subjectivity. Applied arts like design or filmmaking are based on the process of creation or recreation, e.g. to rearrange or manipulate film-footage, as opposed to journalism, which provides the commented reality, e.g. providing a voice-over to explain the original footage. But active manipulation could lead to a better understanding of a given incident. Dziga Vertov, a Russian poet and film-editor, was known as a pioneer in the field of documentary film and newsreel production. His masterpiece, The Man with the Movie Camera is a milestone in the history of documentary film. By seeking to show life as it is in The Man with the Movie Camera (1929), his Kino-Eye method laid the ground for cinema vrit in France 40 years later. (Rabiger. 2004. Directing the Documentary. 74) The film portrays life in Russian cities from dawn till dusk. Vertovs approach was to show reality as it happens. No interfering and staging should interrupt life in the streets, in factories or at homes. Der Ausgangspunkt ist: die Nutzung der Kamera als Kinoglaz, das vollkommener ist als das menschliche Auge, zur Erforschung des Chaos von visuellen Erscheinungen, die den Raum fllen... (Vertov. 1975. Schriften zum Film. 07) In short, the camera is more perfect than the human eye and a way better tool to explore reality. The camera operator is degraded, just an assistant of the machinery ...more the cameras puppet than its master (Rabiger. 2004. Directing the Documentary. 74) The camera is the real explorer, not the director. Vertovs understanding of editing, however, has a contradicting approach. He was building new structures and stories out of the footage, regardless of time or spatial connections. Von einem nehme ich die strksten und geschicktesten Hnde, von einem anderen die schlankesten und schnellsten Beine, von einem dritten den schnsten und ausdrucksvollsten Kopf und schaffe durch die Montage einen neuen, vollkommenen Menschen. (Vertov. 1975. Schriften zum Film. 07) But this self confident way of film making could leave its viewer on the verge of agitation, which is the case in Triumph of the Will, Leni Riefenstahls propaganda film on the 1934 Nazi Party Congress in Nurenberg. According to the field of art history, Vertovs approach of shooting can be seen as realistic, whereas his attempt to reorganize and manipulate the footage ia a more expressionistic style. Die Theorien, die das Rohmaterial feiern, sind im wesentlichen realistisch. Die, die vor allem auf die Macht des Filmemachers abzielen, die Realitt zu modifizieren oder zu manipulieren, sind vom Ansatz her expressionistisch (Monaco. 2004. Film verstehen. 421) The wounded-man-sequence of The Man with the Movie Camera contains two examples that will illustrate Vertovs ambitions.
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1.3.1 Losing-Conciousness and the Kuleshov Effect
The first 23 seconds, named losing consciousness, contains just three shots: A streetcar arriving, filmed from a low angle, a close-up of an eye whose pupil is shifting about and a tilted pan of the city. (See page 26) First he shows the arriving streetcar from a subjective view, followed by a crosscutting between the eye and the panning camera. This gets dramatically faster and at the end it looks more like dissolving than hard cutting. These three shots build a new narrative unit. Through the subjective camera angle, Vertov puts the viewer in the position of a person just hit by a streetcar. The back and forth editing between the pan-shot and the close-eye-shot put the viewer on an empathic level. The viewer discovers how a wounded man must feel. The meaning of three single pictures has merged into a new sequence and has a different meaning. The ability to change the whole picture within the process of editing was proven by the Russian Filmmaker Lev Kulesov. He revealed that if one shot is put together with three other shots, the meaning of the first shot changes. In ihrem wohl berhmtesten Experiment nahm die Kulesov-Gruppe drei identische Aufnahmen des bekannten vorrevolutionren Schauspielers Mozzuhin und schnitt sie zusammen mit Aufnahmen von einem Teller Suppe, einer Frau in einem Sarg und einem kleinen Mdchen. Nach Pudovkin, der spter die Ergebnisse des Experiments beschrieb, zeigte sich das Publikum hchst begeistert von Mozzuhin subtiler und affektierter Fhigkeit, solch unterschiedliche Emotionen wie Hunger, Traurigkeit und Zuneigung zu vermitteln. (Monaco. 2004. Film verstehen. 429) In their most famous experiment, the Kulesov group took three identical takes of the well-known, pre-revolutionary actor Mozzuhin and put them together with takes of a dish of soup, a woman in a coffin and a small girl. A test audience detected a different expression of the actor than that was shown in the first shot. According to Pudovkin, who later described the results of the experiment, the audience appeared to be very excited about Mozzuhins subtle and effective ability to communicate such different emotions like hunger, sadness and affection.
1.3.2 Camera-View - Reflection
An other example of Vertovs talent to create metaphoric messages by the combination of different shots can be seen in the camera-view-sequence. (See Page 28) The footage shows an effect shot (manipulated shot), containing a double exposure of a camera lens combined with a close-up of an eye as well as an over-shoulder view of a wounded man. This sequence lasts 11 seconds, but the last shot of the former sequence is quite crucial to understanding the meaning of this one. It shows a view of the wounded man from a certain camera angle. The camera-view-sequence starts with the effect
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shot ...where an eye is superimposed over the lens of the camera, starring out at us. (Bordwell. 1997. Film Art: An Introduction. 416) The next over-shoulder shot illustrates the subjective view of a camera operator and it differs from the former camera angle. The eye within the lens as well as the two different camera angles underscores this strong impression of subjectivity. The Man with the Movie Camera has a subjective standpoint. This is not real life, but a representation of real life through the machineryeye. It is a stunning example for reflexive filmmaking. The audience is able to recognize the manipulation of documentary. (See page 28)
Fig. 13-14 | Illustrating the interest and subjective view of media
This historic example of subjectivity can be seen nowadays in some newsreels on television. The ARD Tagesschau uses this method to show the interest of media, to illustrate not just the subjective view, but also the degree of media interest on an event.
1.3.3 Sequence Analysis: Man with the Movie Camera: Wounded-Man-Sequence
loosing consciousness : 23s
Location
Camera
Shot
Describtion
MS Streetcar BCU Eye (X-cutting) Tilt/Pan LS City (X-cutting) A man is being hit by a streetcar and looses his consciousness (Fig. 15-17)
EXT
la
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alarm: 27s
Location
Camera
Shot
Describtion
INT CU Tel. Lady EXT LS Ambulance Men INT CU Tel. Lady EXT la MS Ambulance INT CU Tel. Lady EXT LS Camera Car INT CU Hang up A lady is calling for the ambulance. Ambulance and camera men are pulling out. (Fig. 18-20) arriving ambulance: 26s
Location
Camera
Shot
Describtion
MS Wounded Man MS Ambulance MS Wounded Man LS Ambulance arrives ha MS Amb + Wounded Man The ambulance arrives and helps the wounded man. (Fig. 21-23)
EXT
ha cm ha
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camera view: 11s
Location
Camera
Shot
Describtion
BCU Camera Lense & Eye PoV, os MS Amb + Wounded Man The perspective of the man with the movie camera. (Fig. 24-25) EXT - Outside, INT - Inside, la - low angle, ha - high angle, cm - camera movement, Pov - Subjective View, os - over shoulder, LS -Long Shot, MS - Medium Shot, CU - Close Up, BCU - Big Close Up
EXT
1.3.4 Conclusion
Vertovs approach of recreating reality can be dangerous and lead to agitation. The film becomes a celebration of the documentary filmmakers power to control our perception of reality by means of editing and special effects. (Bordwell. 1997. Film Art: An Introduction. 415-416) But through his virtuosic editing, Vertov involves the viewer in the film. Through reduction, simplification and effective post-production, he gets rid of unnecessary information and underscores his storyline. It proves that it is possible to turn effects into a meaningful artistic language (Manovich. 2001. The Language of New Media. 243) The new picture of reality is clearer and more distinct than the raw footage. Vertov utilizes the full potential of audiovisual techniques and puts the audience in the position of an active participant. This roller-coaster-effect provides a direct experience and is quite entertaining for the viewer. A playful, experimental method of editing film footage can only be carried out successfully through the creativity of a subjective individual like an editor. The reproduction of the material will surely differ from reality, but it can also lead to having a better understanding of an event.
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Fig. 26
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1.4 Hot and Cold Content and the Three Es - A Way to Classify Documentary Content
Marshall McLuhan describes in his book Understanding Media - The Extension of Man the difference between hot and cold media. A hot medium like photography or a movie is distinct. A cold medium like the telephone or a comic strip is blurry and requires the active participation of the consumer. A lecturer from Sunderland University, Shafik Obrai, teaches his students the rule that all documentaries should have the Three Es: education, entertainment and empathy. To summarize the ideas which have been discussed throughout this thesis, Marshall McLuhans theory of hot and cold media will be adapted towards the issue of subjective and objective standpoints. McLuhan explained in Understanding Media - The Extension of Man that A hot medium is one that extends on a single sense in high definition. High definition is the state of containing a lot of data. A photograph is visually high definition. (McLuhan. 1964. Understanding Media - The extension of Man. 31) A movie would be another example for McLuhans term of hot media because it is entertaining and requires no active participation of the audience. A cold medium is fuzzy and blurry. A telephone or a comic requires active participation by the audience. Mc Luhan counts the early television as cold, because the early tv-shows required attention and the resolution of the first black and white devices were not very high.
McLuhans theory can be separated from the medium to its content. Nowadays content is often used cross-medial. The borders between cinema, tv, radio and internet are fluid. The same content could appear in various media. The determination of certain media in categories like hot or cold no longer exists. But these determinations still apply for the content. A Dokumentarfilm like The Man with the Movie Camera shows well designed pictures and structures and would be hot or distinct. The typical Nachrichtenfilm requires active participation of the viewer and would be cold and blurry.
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Shafik Obrai, a lecturer for documentary production at the University of Sunderland and former CBC (Canadian Broadcasting Corporation) producer teaches his students the rule of the Three Es: education, entertainment and empathy. These are the three elements that a good documentary must have. A documentary piece should inform its audience about a certain incident or process by telling an entertaining story. When getting closer to the main character, the audience often feels empathy with this person. A short Nachrichtenfilm can never achieve this closeness. The major focus is to inform or educate the audience.
1.4.1 Conclusion
Hot content requires an audience that likes to be entertained. Hot content is often desired by a viewer who is exhausted and has no need to absorb more information. Cool content, however, requires an active and involved audience that is highly motivated. The first group wants entertainment while the second group wants education. A good Dokumentarfilm should cover all both entertainment and education. But the high density of the educational information that a Nachrichtenfilm provides, can never be achieved. It is pretty tough to combine education and entertainment within a film. Raw information can just be achieved from a rather impartial standpoint. Entertainment has an influential and persuasive effect.
1.5 The Point-of-View - Where the Camera Stands

The decision on the point-of-view is essential for each kind of audiovisual expression. Before recording, noting or picturing an incident, one has to choose a certain camerastandpoint, a perspective from which to report.
1.5.1 Direct Cinema and Cinema Vrit
When talking about documentary film there are two different ways to address this issue, direct cinema and cinema vrit. The direct cinema documentary characteristically records an ongoing event as it happens, with minimal interference by the filmmaker. (Bordwell. 1997. Film Art: An Introduction.44) ...an observational
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approach that kept their intrusion on participants down to a minimum... They shot under available light and without evident preparations... (Rabiger. 2004. Directing the Documentary. 29) On the other side there is cinema vrit, which takes account of the central problem by actively involving participants in the process. (Rabiger. 2004. Directing the Documentary. 29) Michael Moore would be a representative of this approach. The former layer Fred Wiseman represents (according to his late profession) a more objective view and only ever uses the camera observationally. (Rabiger. 2004. Directing the Documentary. 63) He would be a representative for the school of direct cinema.
Consequently, direct cinema represents an objective camera view and the action is not interrupted. The cinema vrit approach includes an active participation of the director or a reporter and the action is being influenced by the film team.
1.5.2 The Pensieve
So, the perspective of a particular documentary is subjective. But how would it be to look at things from a godlike eye? What if we could record from an omniscient point of view? In her novel Harry Potter and the Goblet of Fire the British author J.K.Rowling introduces a fine technique to reproduce reality. She called it the Pensieve and meant a sieve for sifting out thoughts. A witch or wizard can extract their own memories or someone elses and store them in a stone receptacle so they can review them later, but not from a subjective point of view. One can walk around the memory and detect new things. If you see your own memory for the second time you can come across things that you did not even know you knew. In technical terms her approach sounds like Star Treks holodeck, a 3D environment for virtual reality. But since the omniscient, godlike camera is just fiction, humankind subjectiveness is the only thing we have to build on.
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1.5.3 Conclusion
The position of a camera-standpoint is crucial for documentary film. It influences how the action is perceived and is always subjective. The omniscient or invisible camera which records everything without interfering only exists in fiction. A device that could support more than one perspective would be one step closer to the fictional Pensieve perspective, which will be discussed in more detail later on.
1.5.4 Possible Point-of-View Scenarios for Documentaries
The following Point-of-View Scenarios are based on the the chapter on documentary practise from Michael Rabigers book on documentary film (Rabiger. 2004. Directing the Documentary. 66-77). This should illustrate how different a documentary will be according to the very first decision of its director - the decision for a certain Point-ofView Scenario:
a) The Single Point of View One hero or anti-hero leads throughout the story. The audience sees the world through the protagonists eyes and feels empathy. Film example: Nanook of the North (1922) Robert Flaherty b) Multiple Characters within the Film A useful standpoint to demonstrate a social process within a group. The audience looks at the group and their achievements. Film example: 28 Up (1986) Michael Apted
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c) Omniscient The expression of a collective, rather than one persons vision. A corporate view, image film or propaganda movie. The audience sees the collective vision or mission. Film example: Triumph of the Will (1939), Leni Riefenstahl d) Personal The directors unashamed and subjective point of view. She/He might step in front of the camera and narrate the event throughout the story. The audience sees the world through the directors eyes. Film example: Bowling for Columbine (2002), Michael Moore
e) Reflexive The filmmaker mirrors the process of film-making. The audience is aware that the reality is just reflected through the camera. Film example: The Man with the Movie Camera (1929), Dziga Vertov f) Self-Reflexive The filmmaker mirrors the process of film making as well as the directors process of examining the story. The audience is aware that the reality is just reflected through the camera and experiences the directors process of film making. Film example: Nobodys Business (1996), Alan Berliner
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1.6 New Objectivity

John Griersons definition of documentary as the creative treatment of actuality (Rabiger. 2004. Directing the Documentary. 04) can lead to both education and agitation. But creativity is not an enemy of documentary, creativity is human and cannot be avoided. Even the reputable print-journalist uses flowery language to address a complex issue in her or his articles. Creativity is a friend of education, not its enemy! But still, when a highly-educated individual tries to persuade somebody, agitation is never far away. In the history of humankind there has never been anybody who has reported an incident from a truly objective perspective. The hurdle, however, is not the agitation- the trouble comes with the wrong label. One of the most famous propaganda films ever is Leni Riefenstahls Triumph of the Will. If this film was shown in Germany today, everybody would see this piece as propagandistic and persuasive, because everybody is aware of the horrible crimes that the Nazi party committed. The same applies for advertising. When we see a Volkswagen commercial spot, we know that this is agitation, but the message does no harm to us. A faked newsreel which misleads the audience is however, really dangerous. But how can one tell the difference between a persuasive film and a newsreel? The solution would be a certain label. For example, when someone buys a bottle of milk in a grocery store, the label says milk. When someone buys a bottle of rat poison in a pharmacy, the label says poison. Bottles from pharmacies usually contain instructions to inform the consumer about the adverse effects. Nobody thinks twice about someone keeping dangerous goods in a bottle. The label refers to its content. We have reviewed throughout this chapter that the label Nachrichtenfilm stands for high quality information, whereas the label Dokumentarfilm stands for art, entertainment, empathy or creativity and represents the directors personal opinion. In the end, Dokumentarfilm stands for propaganda. But when the director represents a certain standpoint and the viewer knows how to evaluate his film, propaganda can turn into rich content which provides a deeper understanding for an event. In terms of professional reporting, one source is not enough. Consider how it would be to rely on two directors with two different points of view or interpretations of an incident. And from these two perspectives, a newsreel clip could be created that could cover the incident from an objective standpoint. This multiple point of view arrangement would provide deeper insight into an event. An interactive video-player could supply these features.
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The example of the Israeli-Lebanon conflict would be a suitable example to describe the basic idea of New Objectivity. Imagine that the BBC supplies an interactive video player on their website. A Nachrichtenfilm covers the Israeli-Lebanon conflict. This clip is shown in the middle of the iVideo interface. After a certain amount of time, two Dokumentarfilmclips appear. One has been produced by Adnan Hajj, the former Reuters photographer. He is now working as a documentary director and has produced a dokuclip which shows the Lebanese perspective of the conflict. The other dokuclip has been produced by the Israeli government. A user on the BBC Website could then decide if she/ he just wants to see the objective BBC piece, or would like to see the two propaganda clips as well. The Nachrichtenfilm now serves as a guideline. The two Dokumentarfilme reveal a deeper understanding of each side. This approach could be reduced to the following formula:
Objectivity + Subjectivity A + Subjectivity B = New Objectivity

It is surely delicate to deal with terms like objectivity and subjectivity. The formula is just delivering a background for the development process of an interactive videoplayer. The Internet would be the perfect channel to distribute this new idea.
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Fig. 27
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2. INTERACTIVE EXTENSIONS
2.1 The New Channel
- A little more lucent and a little less imbalance
The internet has become a new broadcasting channel. The web 2.0 technology paved the way for the success of webvideo. More and more people are producing videoclips, but the majority are just consuming, as in the old media world. There are opportunities for documentary film within this new environment and some hurdles to overcome.
2.1.1 What is Web 2.0?
The term web 2.0 is an expression from the internet pioneer Tim OReilly. In 2003 he said that the technical specifications of the internet have fundamentally changed due to the introduction of a new Internet version, web 2.0. To understand these massive changes, the Stanford University professor Terry Winograd has developed a simple model which explains the difference between Web 1.0 and the new version. He begins by breaking down elements of typical human interaction. Terry suggests that we interact with the world around us in three main ways: manipulation, locomotion and conversation. In manipulation you move things around with your hands; for locomotion you move yourself from place to place; and in conversation you say something and another person says something back. (Moggridge. 2007. Designing Interactions. 462) These three elements of interaction became available online with web 2.0. The e-mail service can be seen as an example for conversation. The expression Im going to their homepage. (Winograd in Moggridge. 2007. Designing Interactions. 463) indicates that we think of a website as a place to visit, which is an indication for locomotion. Conversation and locomotion are methods which worked even within the old internet techniques. The ability to manipulate a certain content is new. With web 2.0 consumers can create their own websites within a community. Pages like myspace, flickr or youtube are places people go to chat and share information, photos or videofiles.
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The first web generation changed the cultural and economical environment. E-mail service became a convenient alternative to the post office. The personal webpage turned into an electronic business card. The changes behind web 2.0 go further. The presentation-platform changed into a big reprogrammable computer, an ultimate place where residents can start their second life. The most successful companies in the new web world are technology corporations which provide large databases and reprogrammable web applications for their customers. They do not deliver any content. Youtube is one of the biggest broadcasting companies on the planet, but they havent produced a single videoclip. Youtube and its owner Google are not media companies, they are technology corporations. Wir sind ein Technologie-, kein Medienunternehmen. Wir ermglichen etwas, aber wir stellen keine Inhalte, - Philipp Schindler, Google (Schindler in Lotter. Elementarteilchen. BrandEins. 02/07. 61) Wolf Lotter, a German economical journalist has found a wonderful way to explain how web 2.0 works: There once was a boy who did not behave himself. His aunt gave him a stern punishment. On the next Saturday, the boy had to paint his aunts big fence while all the other kids went swimming in the river. The boy had just started painting when his pal Ben came by. Ben started making fun of him, but the boy was clever. It is not a big deal, the work is really fun! Then Ben started begging his friend to let him paint the fence. He even pays his friend with a juicy apple to let him do it. The boy lays in the shade while Ben paints and watches as more and more kids arrive. In the evening the work is done and our hero is rich. Mark Twain called this incident Tom Sawyer Whitewashing the Fence. That was 1876. Now it is 2007, and this process, which has mostly stayed the same, is now called web 2.0.
Mark Twain nannte diesen interessanten Vorgang Das ruhmreiche Zaunweien, ein lehrreiches Stck aus seinem Romanepos Tom Sawyer. Das war 1876. Heute ist 2007, und diesen Prozess, an dem sich im Wesentlichen nichts gendert hat, nennt man web 2.0. (Lotter. Elementarteilchen. BrandEins. 02/07. 53)
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2.1.2 Webvideo
A couple of years ago there were no videos on the web. But a broader bandwidth and faster web servers have made it possible to provide big videofiles within a web service. The videoplatform youtube started in 2005 and currently shows more than 100 million videos per day. Allein Youtube, im Februar 2005 gegrndet, verbreitet heute mehr als 100 Millionen Videos pro Tag. In den USA schauten im ersten Quartal 2007 43 Millionen Besucher auf der Videoplattform vorbei,... (Heuer. Das ultimative Vorsingen. BrandEins. 06/07. 105) But not every user posts a video. Most of the people visiting youtube are just watching - just 0.16 % are producing clips. Gerade einmal 0,16 Prozent aller Besucher von Youtube laden Videos hoch, und nur 0,2 Prozent aller Besucher der Fotosharing-Seite Flickr, die zu Yahoo gehrt, stellen dort ihre Bilder ein (Heuer. Das ultimative Vorsingen. BrandEins. 06/07. 106) But even the minority of less than 1% is providing massive content. For free! And it is published on the first international broadcasting channel on the planet. Michael Rosenblum, one of the founders of Videojournalism, declares that due to technological progress, it will be possible for anybody to produce a video. Bald werden Menschen mit Ideen eine Kamera nehmen und einen Film oder ein Video produzieren knnen, so wie heute jeder mit einer Idee einen Stift und Papier nehmen kann, um ein Buch zu schreiben, oder es wenigstens versuchen. (Zalbertus, Rosenblum. 2003. Videojournalismus - Die digitale Revolution. 56) Film making will be as easy as writing a book. Not everybody who owns paper and a pen becomes a famous writer. The same will apply for the future video producers. But still, there will be more and more people involved in the production process of professional video clips. Die Zeit, one of the biggest weekly newspapers in Germany, has spotted this new trend and now they provide video content on their online issue. Um das Angebot zu erweitern, hat ZEIT online weitere Kolleginnen und Kollegen eingestellt, Software entwickelt, in Videotechnik investiert. (di Lorenzo, von Radow. Zeit Online Spezial. DieZeit. Nr.21, 16.Mai 2007. 73) The stars in the new economy 2.0 are companies which enable people to produce their own content. This is a phenomenon which will change the media landscape. To revolutionize massmedia, Hans Magnus Enzensberger wrote 37 years ago, you do not have to get rid of the manipulator, rather you have to get everyone to manipulate. Eine wirkliche Revolution in den Massenmedien, schrieb Hans Magnus Enzensberger vor 37 Jahren, msse nicht die Manipulateure zum Verschwinden bringen, sondern jeden zum Manipulateur machen. (Enzensberger in Hornig. Ein bunter, chaotischer Marktplatz. SpiegelSpezial. 03/07. 10) This is actually not very far off.
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2.1.3 The Hurdles of Webvideo Structures
When talking about Internet TV, there is one major issue which is often forgotten. People are usually online while at a desktop, not sitting in a cosy armchair. ... interactive television failed because the developers forgot that television is a very sit back interaction, rather than a sit forward interaction. (Samalionis in Moggridge. 2007. Designing Interactions. 433) People have different expectations depending on whether they are sitting on a couch or at a desk.
The sketch on Cold and Hot media contains a solution for this hurdle: The hot entertainment content is closer to the artistic Dokumentarfilm-edge. Whereas the cold education (requiring active participation of the audience) is closer to the Nachrichtenfilm edge. The conclusion that can be made from this connection is that a Nachrichtenfilm is useful for webvideo, the Dokumentarfilm is not. The success and wide usage of Wikipedia and onlinenewspapers have proven that a desktop PC with internet access has become a vital source of information and an important tool for research or getting information. It is also important to note that everyday life and work cannot be easily separated. The desktop and couch are moving closer together, as this study done by an advertising agency shows. To provide a place where their designers could go to get a feel for family life in the average German family, an advertising agency built a typical German living room. Based on their statistics, this year the PC moved from the study to the living room for the first time. Eine groe Werbeagentur pflegt seit einiger Zeit das deutsche Durchschnittswohnzimmer: Ein statistisch kalibriertes Museum des echten Alltags,
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mit Wohnwand und Coutchtisch. Nun steht auf dem Teppich der fiktiven Familie zum ersten Mal ein Computertisch mit PC und Internet. (Stcker. spiegel.de. Nackte Haut auf dem Wohnzimmer-PC.) Another hurdle for video within the internet might be the non-linear structure of new media applications. A database filled with items relating to a given topic can be rearranged by the user. A film or video is, however based on linear structures. The staging is based on a continued timeline. As a cultural form, the database represents the world as a list of items, and it refuses to order this list. In contrast, a narrative creates a cause-and-effect trajectory of seemingly unordered items (events). Therefore, database and narrative are natural enemies. (Manovich. 2001. The Language of New Media. 225) An interruption of a videoclip could harm the message within this clip. The sketch on Hot and Cold media provides again a method of resolution: The Nachrichtenfilm is, due to its actuality, fast in production. The journalistic approach is privileged whereas the art factor is downplayed as the pictures just illustrate the voice-over text. The Dokumentarfilm tells a visual story which would suffer from a break. The conclusion for webvideo would be, it is better to break the linear structure of a Nachrichtenfilm than interrupting a Dokumentarfilm. People often interrupt a Nachrichtenfilm when watching it on televion by switching channels during it. The short narrative units of a newsreel allow people to pick up the story rather quickly.
2.1.4 Conclusion
The internet has become a proper channel to provide video. web 2.0 has changed the internet from a presentation platform into a large piece of software which can be manipulated by the users. The new stars are the technology corporations who are providing database, applications and webspace. The content (foto, video etc.) is delivered by their customers, who are developing and gathering the content for free. This works especially well since many people are capable of producing a video on their own. TV is a sit back medium while the internet requires active participation. Thus, a Nachrichtenfilm would work better as a webvideo whereas the desktop PC is not the best place for screening a Dokumentafilm. However, as the computer moves from the study to the living roomit is likely that this separation will merge in the future. The interactive environment makes it possible to interrupt or rearrange videofiles. It is more likely that a person will zap from or to a Nachrichtenfilm. The small narrative units of a Nachrichtenfilm can be picked up easily and an interruption is not as harmful as for a Dokumentafilm, which contains a rather complex connection between pictures and storyline.
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Fig. 28
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2.2 Interactive Video - Interaction Design Process

The first chapter has revealed miscellaneous troubles relating to documentaries. This chapter provides new ideas and solutions within the interactive environment of the word wide web. Bill Verplanks four-step process serves as a guideline for building a prototype of an interactive videoplayer. (Moggridge. 2007. Designing Interactions. 130) The Interaction Design Process contains four units: Motivation, Meaning, Modes and Mappings. First, the designers are motivated by an error or inspired by an idea (Moggridge. 2007. Designing Interactions. 130) This would be motivation. Then, a story or metaphor has to be found, a scenario which illustrates the designers intention (meaning). To create a conceptional model (mode) the scenario must be deconstructed to develop a suitable task. The last point deals with display and controls (mappings). Consequently the interaction design process chain consists of observation, invention, engineering and design. The chart on page 51 shows the overall impression of this model.
2.2.1 Motivation/ Observation
The first chapter has revealed troubles relating to documentaries. The first step of observation will refresh these conclusions. 2.2.1.1 Mockumentaries & False Reality - Observations The chapter Mockumentaries & false reality explained how the audience can be easily tricked. A sports reporter might have changed a single picture within his film and this manipulation could have changed the whole content. To avoid these unfair manipulations and to protect the neutral image of journalism, the viewers must get an indicator which illustrates the standpoint of a film. It must be transparent for the audience if a film is persuasive or informational. 2.2.1.2 Influencing Media - Observations In chapters 1.2 and 1.3, we examined how a rich visual language is a strong communication device which often leads to agitation. But if one knows about the source, the propaganda aspect is lucent. The educational power of visual communication is focused on. 2.2.1.3 Hot and Cold Content and the Three Es - Observations Marshall Mc Luhan described the difference between hot and cold media. A hot medium is distinct and a cold one is blurry and requires active participation. In times of cross-media, the borders between radio, tv or internet are no longer fixed. But the content can still be seen as either hot or cold. Shafik Obrai teaches his students the rules of the Three Es (entertaiment, education and empathy), which are crucial for
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documentary production. A combination of both ideas would lead to a separation within the field of documentary. There are pieces which are hot and entertaining and others that are more cool and educational. 2.2.1.4 Multiple Standpoints - Observations A true objectivity like J.K. Rowlings fictional Pensieve cannot be achieved, but changing the camera angle of each scene can help provide a broader view on an incident. Whether the camera is influencing or just observing is a vital decision a director has to be honest about because it does not matter how many camera angles a film contains, at the end of the day, a film will always represent a subjective view of its director. 2.2.1.5 The Idea To solve all these issues an Interactive Videoplayer is needed to control different video sources and to allow the audience to combine different perspectives.
2.2.2 Meaning/ Invention
The New Objectivity serves as a scenario for an interactive videoplayer dealing with documentary film clips. The New Objectivity offers three different standpoints. Two of them are subjective, representing PRO and CONTRA. One is objective and represents the neutral journalistic view. 2.2.2.1 Mockumentaries & False Reality - Inventions Three different views within one application balance each other. A very subjective, radical (but more in-depth) view will be balanced out by the oppositional opinion. The objective view in the middle is neutral and delivers all relevant facts. The transparency of this model lets the audience detect immediately if there is an imbalance in the objective source. 2.2.2.2 Influencing Media - Inventions To control the massive influence of visual communication, editing and visual effects, the source of material must be labelled. The audience must know where the film comes from and what the intentions of the producers are.
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These clips are useful for the PRO or CONTRA perspectives. 2.2.2.3 Hot and Cold Content and the Three Es - Inventions A good documentary should cover all three es, education, entertainment and empathy. But when a piece is closer to the Nachrichtenfilm edge it is stronger in education. A piece which is closer to the Dokumentarfilmedge has stronger entertaining qualities. The New Objectivity aims to achieve one overall picture (message) at the end. The PRO and CONTRA clips could be rather entertaining (persuasive), while the objective clip would focus on the education (information) factor. By separating the es, the single clips would focus on their strongest attribute. 2.2.2.4 Multiple Standpoints - Inventions The New Objectivity is not perfect. But it at least gives two more views on a situation. This mixture of PRO and CONTRA is somewhat a reduction to black and white. But for the viewer it is not just black or just white. The viewer will detect a versatile range of grayscale when balancing out the truth, which can be found somewhere in between. 2.2.2.5 The Metaphor The New Objectivity contains four attributes: detection of imbalance labelling of standpoints separation between entertainment and education staging of multiple perspectives
All of these attributes can be put together to make three different perspectives which can then be combined into a web application. The subjective clip PRO, the subjective clip CONTRA and the balanced objective clip can be combined to create a NEW OBJECTIVITY.
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2.2.3 Mode/ Engineering
The process of engineering will put the attributes of New Objectivity into the design of a suitable interactive video mode. The ingredients are the non-linear structures of Nachrichtenfilm and Dokumentarfilm. Although the Nachrichtenfilm can be interrupted, the Dokumentarfilm should remain one piece. The Nachrichtenfilm is objective and fulfils the requirements of the balanced objective clip. The Dokumentarfilm is artistic and persuasive, which are the ideal features for a PRO or CONTRA clip.
But how can these bits go together within a single media player? The task is to put a Nachrichtenclip in the middle. The Nachrichtenclip would play continously. The Pro/ Contra Dokuclips would appear at a certain time (these settings can be adjusted by an editor at the back-end-side). The audience could select the new Dokuclip (Pro/ Contra) when it appeared. After the dokuclip was played, the system would jump back to the former position within the Nachrichtenclip. The Dokuclip must not be interrupted. The Nachrichtenfilm would play continuously but would allow interruption when the user decided to click on a dokuclip. The visual model contains three parts: the Nachrichtenclip in the middle, the Dokuclips at each side, separated according to whether they are PRO or CONTRA. This model fulfills the needs of New Objectivity After the session a user who has watched all different clips would be able to detect immediately an unfair or unbalanced representation of the Nachrichtenclip The label Pro or Contra lets the audience know the standpoint of the clip. (These labels could be replaced by more precise information) The Nachrichtenclip would provide just the facts, the dokuclips would provide a deeper understanding of each side of the conflict. The overall image of a case appears within a broad range of grayscale between black (CONTRA) and white (PRO). The end result is that the viewer has a distinct picture of the given topic.
A suitable environment for these specifications would be a Flash Web application, the most common solution for interactive video integration.
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2.2.4 Mapping/ Design
The German philosopher Peter Sloterdijk wrote in his book Der sthetische Imperativ that design is a competence-simulation. Interface design is especially helpful in giving the user the competence to use a technique that she or he does not fully understand. Sloterdijk pointed out that we are navigating as experts on the ocean of incompetence. (Sloterdijk. 2007. Der sthetische Imperativ. 144) That is a beautiful allegory of interface design. There is no need to understand a cathode ray tube as long as the remote control of the TV works! Another fundamental rule of interaction design can be found on a book cover: Dont Make Me Think. Steve Krugs publication on webdesign. A good interface needs no instructions - it should speak for itself. 2.2.4.1 Control Before the visual design process starts, one has to think about the best way to interact with the Interactive Video player. A simple rule of navigation which also applies for professional editing software is the drag&drop method. The user grabs an object with the cursor and moves it around. The overall use of the drag&drop idea reduces the number of handles and buttons. It is a simple way to reduce needless items. The user will be instructed with an icon on the lower left corner of the screen. (See Page 54) She/He can simply drag & drop a dokuclip onto the main videoframe where the Nachrichtenfilm is playing. The second ability of the mouse as a controlling device is the mouse-over-effect, which is when the cursor slides over the appearing dokuclips. When this action happens, an information text is displayed in a textbox in the upper right corner. The shown text provides information on the dokuclip and can be edited within the interface at the back-end-side. 2.2.4.2 Interface - Front-end (See Page 54) The actual player is placed in a central position on the canvas. Four smaller screens (two Pro and two Contra Screens) surround the main screen. The Nachrichtenclip continuously played in the mainframe. The surrounding screens are the empty placeholders for the docuclips. The titel is displayed in the upper right corner. The empty textbox beneath shows information about the dokuclip when the cursor moves over the clip.
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A light gradient from black to white on the back of the canvas separates Pro and Contra visually. There are just three buttons that appear beneath the main videocreen: The back button on the left allows the user to jump back into the Nachrichtenclip when playing a dokuclip. The iVideo logo in the middle blinks when a dokuclip is playing. When the Fullscreen button on the right is clicked on, the whole canvas turns into a videoscreen.
To ensure a high quality video representation the interactive Video player features a fullscreen mode. (See page 56) When the fullscreen button is clicked, the whole canvas turns into the video screen. All graphical representations vanish with just the Pro and the Contra labels remaining at their former position. The equal label starts blinking when a dokuclip appears. It can be started with a click on the blinking label. The blinking iVideo Logo appears again when the dokuclip is playing. The fullscreen mode ends when pressing the escape button or clicking on the close icon on the upper right corner. 2.2.4.3 Interface - Back-end (See Page 55) The back-end side is the control panel for an editor. The canvas contains five panels. The first one in the upper left corner is the file browser. The editor scans through the files, searching for the videoclips. When the editor has found the Nachrichtenclip, he drags this clip onto the main video container in the upper right corner. The editor now starts searching for the additional dokuclips. After finding the first clip, he drags the clip onto the middle panel on the left. If the dokuclip contains more information, the suitable position can be found and set. The icon below the video allows the editor to pick a certain length. The last panel on the left shows two textboxes. The editor can type in the overall titel and a description for the actual dokuclip. When the duration is set and the description is typed, the dokuclip can be dragged from the black folder to the panel at the lower right side of the canvas, whether the clip is pro or contra. The timeline ball within the main video container helps to find the exact position where the additional videoclip will appear on the front-end. The duration, as well as the time of appearance, can be set with the icons beneath pro and contra. When all adjustments have been made, the session can be saved.
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2.2.5 FAQ on Interactive Documentary
2.2.5.1 Why are the videos not truly interactive? - The audience should decide which path to follow within a database of videoclips! Film is a linear medium and if one leaves the linear path, the message will change or more than likely there will be no message left at the end! The freedom of choice must be limited to keep the linear structure. 2.2.5.2 A conclusion of chapter 2.1.3 was that Dokumentarfilm is not a suitable medium for the Internet, so then why are dokuclips part of the New Objectivity? Living and studying are merging closer together in the future and the PC might be a suitable environment for a Dokumentarfilm one day. The success of youtube is proving the first acknowledgements of short entertainment bits at the desk. The production process of dokuclips would be a new industrial field for new media designers, camera operators and visual journalists. The creative approach to dokuclips allows the developers to be experimental and persuasive, which would be a new and fresh contribution to the broadcasting landscape. 2.2.5.3 Why are there two Pro and two Contra Screens? The two screens are placeholders. An editor could use one screen to provide interviews and the other screen for charts and animations. Also, if there are two screens available, two different clips could be provided at the same time. 2.2.5.4 Who decides which clips to publish within the New Objectivity? It is still the job of an editor to select the relevant information for her or his viewers. The New Objectivity is the attempt to dip just a bit deeper below the surface of an event. The model can be seen as a trial when witnesses report their experiences. Michael Rabiger approaches this idea in his films The final version of a film can be linked to the final stage of a trial when the main issues are summed up for the jury. The jury must decide whom do they believe, whom do they like, whom do they disbelieve? With whom do they empathize, and whose version of events squares most with their own experience of life? (Rabiger. 2004. Directing the Documentary. 62) The judge, the journalist, the documentarian, none of them is truly impartial, but they have to do their job anyway.
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Fig. 29
51
Fig. 30
52
2.3 New Objectivity - Prototype

Please start the enclosed CD-ROM to experience the demonstration of interactive Video and New Objectivity. The Flash application contains the interactive videoplayer and three videoclips. The main informational clip describes the model of new objectivity. The other clips provide a supporting and a contradicting opinion. The fullscreen mode is not available within this demonstration.
The Main Nachrichtenclip
A little less disorientation a little more interaction please! New Objectivity gives the audience a deeper understanding of an event by showing a newsreel and offering two additional views on an incident. A Pro and a Contra opinion - both aim to persuade the audience. This is comparable to a trial when witnesses attempt to convince the jury. To illustrate this idea and to show how the model of New Objectivity works, there will be two more opinions on this issue, one that supports this theory and one that is against it. The contradicting clip will now appear in this corner. When you move the cursor over the clip, the textbox above will reveal some more information. Please grab the clip and move it onto the main videoframe - You have now returned back to the original clip. To hear a supporting opinion, please drag the clip which has appeared in the upper left corner! - This presentation has shown just the very basic idea of New Objectivity you will find further explanations in my thesis. Thanks for you attention.
The Contradicting Dokuclip
I dont think this will work! Ive no time for sifting out pro or contra. I would like to receive my information from a single source. A reliable source which Ive decided to trust.
The Supporting Dokuclip
The concept of a new objectivity sounds pretty good to me. Nobody knows where all the information comes from. The New Objectivity provides more transparency! I like to draw my own conclusions!
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Fig. 31
54
Fig. 32
55
Fig. 33
56
2.4 Interactive Video - Production Chain

To demonstrate what the production chain of interactive-video-content would look like, a TV Station would serve as a suitable example: Imagine ARD (a German broadcasting company) wanted to use the model of New Objectivity and the iVideo-Player. First, the editorial department would have to decide what topic would fit for the model of New Objectivity. In the summer of 2007, there was an industrial conflict between Germanys biggest transport corporation DB (Deutsche Bahn) and a relatively small, but powerful group of their employees, the engine drivers. Their union, the GDL (Gewerkschaft deutscher Lokomotivfhrer) was fighting for a higher salary. This is a perfect case with which to demonstrate the model of New Objectivity. The ARD editors would select a Nachrichtenfilm of their own and put this clip into the iVideo device. Secondly they would have to secure the PRO and CONTRA clips. There are three different possible sources for these clips:
a) Secure a Clip from an external source b) Shoot the clip ones self c) Search in a database for an existing clip
a) Secure a clip from an external source The public relations department of the Deutsche Bahn produced a clip which illustrates their standpoint and gives a deeper understanding from inside the company. The ARD editors secure this clip. This sounds like a lot of effort for the DB, and in fact, big companies usually give press conferences to inform the media. But video is growing and todays press report might be the dokuclips of tomorrow.
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b) Shoot the clip ones self It could be that the other party involved, the GDL, cannot afford to produce a dokuclip. The ARD editors decide to produce their own clip about GDL. This clip might contain a film essay about the GDL or a critical evaluation of the statements from DB. This piece allows for a rather subjective standpoint. This take is already used nowadays in several critical TV Magazines which follow the path of investigative journalism. The dokuclip however can be rather experimental and playful with graphics and editing techniques. There are no certain expectations from the audience like there is for a newsreel. The dokuclip remains a new spot to fill creatively - persuasion is allowed!
c) Search in a database for an existing clip Since people are uploading more and more clips on videoplatforms, the quality of this content will rise. One day youtube could be a proper source for dokuclips. But currently it is more probable to access an internal database within the TV Station or within the network of associate broadcasting companies.
When all clips are produced, found or secured, an editor loads these bits into the iVideo Player at the back-end-side. After the application has been published on the ARD website the user gets a manifold image of the industrial conflict and in this way becomes the co-author of the work (Manovich. 2001. The Language of New Media. 49)
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2.4.1 Saving Money When Being Inventive
Having looked at a possible production process of the interactive video bits, the cost side of interactive video content will now be examined. Assuming that the ARD is already using the interactive video player, there is more to consider, especially when the dokuclips have to be produced internally. Fortunately there are ways of reducing the costs. The clips could be produced by a single person, the video journalist. The VJ would just need to be equipped with a small camera and microphones that can fit into a backpack. Sandra Baur, who wrote a book on video journalism recommended the Sony DSR-PD170P as a suitable camera for these circumstances. (Baur. 2006. Videojournalismus. 160) Since we have reached the HD-TV era, another suggested camera model would be Canons XH A1. It is beneficial because the HDV standard provides a higher resolution.
Fig. 34 | SONY DSR-PD170
Fig. 35 | CANON XH A1
However, for a VJ there are some more things to consider, such as a professional tripod, two microphones (1 Lavalier Micro for a staged Interview/ 1 Cardioid Shotgun Microphone for the reporter tone) and some additional accessories like bags or a wide angle lens. After shooting the footage can then be edited on a PC or an Apple Computer. The most common software is Avid or Final Cut. This process would be cheaper than shooting with the common Digi-Beta-crew (reporter, camera operator, audio operator). A team of young journalists, editors and camera operators could use this opportunity to practice and experiment with new techniques and conventions when producing their first dokuclips. This creative playground would be a healthy contribution for the TV landscape. In addition to the possible ways to cut costs in the production process there are further ways to save money. Another way would be within the field of work organization, for example taking the clips from external sources. This would also be an example of the fourth leaf of Charles Handys Shamrock Model. Handy said that work could be separated in three different groups:
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1.) 2.) 3.)
The core worker group - The employees, working for a company. The outside workers - external companies with a contract for a certain job. Part-time workers - Freelancers, or people who are employed for a certain period or job.
These three groups represent three leaves of the Shamrock, but what about the fourth leaf? There is one other category of subcontracting which needs to be mentioned. It is the growing practise of getting customers to do the work. Customers, however, are not paid by the organization, so this fourth leaf cannot exist as part of the formal structure of the shamrock (which is just as well for the imagery since no shamrock has four leaves), but it is real. (Handy. 1990. The age of Unreason. 101)
If a TV station used the video data of clips which have been produced by their customers, they would save money. Currently this happens just within the low quality sector in German television. The German TV station Pro7Sat1 bought the video platform myvideo (a successor of youtube) to show the clips within the 30 minute MyVideo Show. However when one looks at the example of the industrial conflict, it is easy to see that public relation departments would have good reason to produce their own videoclips. The model of New Objectivity is also a new way to present ones self. The fourth leaf of the Shamrock-Model has succeeded in many branches, why should it not work for TV Stations? Banks long ago worked out that if they could persuade customers to fill in their own deposit slips they, the banks not the customers, would save millions. Now we also draw out our money from their holes in the wall and call it our convenience. We also pour our own gas and print our own subway tickets. (Handy. 1990. The age of Unreason. 101)
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Fig. 36
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2.5 Future Extensions

A memex is a device in which an individual stores all his books, records and communications, and which is mechanized so that it may be consulted with exceeding speed and flexibility. (Bush. 1945. As We May Think. Chapter 6) Vanevar Bush came up with these ideas back in 1945. But it took 50 years for his predictions to start coming true and they are still coming true today. Marshall McLuhan said that We are swiftly moving at present from an era when business was our culture into an era when culture will be our business. Between these poles stand the huge and ambiguous entertainment industries. (Carson. 2003. Marshall McLuhan - The Book of Probes. 384) Film and video, containing entertaining or educational content, can be seen as the uncrowned king of media and will conquer the interactive environment of the world wide web!
2.5.1 Future Extensions - The Web
Video It is likely that web video will grow even more in the future. There will be other services and interactive models that give the user more power to navigate within videoclips. One such service is Click.TV. The Californian company has developed a new way to interact within video files. Click.TVs web-based video player allows video producers, subject matter experts, and end-users to add a variety of rich content attached to timecode in the video. (Click.tv. FAQ.) In short, the user can comment on a videoclip. These comments are then used as bookmarks for other viewers. This technology allows for fast navigation within a videoclip. The user can for example watch the whole speech of a politician or jump directly to the part of climate change if that is what she or he is interested in. The linear narrative of film and video is the natural enemy of nonlinear narratives of new media, as Lev Mannovich pointed out. (Manovich. 2001. The Language of new Media. 225) However in the future, linear and non-linear types of media will probably merge together. Interaction Having looked at the chances for the future of webvideo, the field of interactive design can now be looked at: A Ph.D. student from the University of Toronto, Christopher Collins has developed a new method for information visualization. DocuBurst is a pinwheel, an interface for a database. Enter a search term like energy, DocuBurst colours the pinwheel based on the frequency of words that are related to the central term. This allows you to visualize the overall theme of a particular document or book. (Bigge. TorontoStar. You are looking at an open book. ID9) The visual communication of modern interfaces can be seen as a world language which can be understood by nearly everyone. It allows the user to navigate with greater ease and less involvement
62
than before. Language does for intelligence what the wheel does for the feet and the body. It enables them to move from thing to thing with greater ease and speed and less involvement. (Carson. 2003. Marshall McLuhan - The book of Probes. 165) Conclusion The eighth item in Googles mission statement is The need for information crosses all borders (Google.com. Google Corporate Information.) and the third item says Fast is better than slow. (Google.com. Google Corporate Information.) Optimizing access for information, be it through a clear structure, a precise label or a faster access, a better navigation is the crucial issue for our knowledge-driven society.
2.5.2 Future Extensions - Interactive Video
iVideo - Real Interaction The technical specifications of New Objectivity are not interactive innovations. The next step for an interactive videoplayer would be for it to provide different information for different users. An intelligent system would give the user a survey to take. The users would answer questions to confirm if they are beginners, experts, etc. in a field. They would then receive different or additional information according to their level of knowledge on the given subject. With this system, the Nachrichtenclip might stay the same, but the Dokuclips could reveal more or less information. iVideo - For Mobile Multi-touch Devices Multi-touch interfaces are not entirely new. Apple, however, put this idea for the first time into a consumer product. To use an iphone, one just needs the tip of a finger, whether performing simple actions like dialing or more difficult actions like navigating through the menu. It is also interesting to look at some of the new navigation-features that an iphone has, like the pinch feature used for scaling photos. With this feature, when the user changes the distance between her or his thumb and index finger, a photo can be scaled bigger or smaller. This multi-touch experience would also work with the basic idea of the interactive video interface. With this feature the user could drag and drop the dokuclip with her or his fingertips and use the pinch feature to enlarge the videoscreen. iVideoclips - The Content In chapter 2.4 we looked at the production chain for iVideo and assumed that in each case, these bits came from a single source. Now consider what would happen if these sources were mixed within the editing process. It is especially crucial for documentary or dokuclips that there are various sources. Material from ones own shootings, from older pieces, from newsreels, from archives and from external sources could be combined with graphics, photos and animations. During editing, the editor constructs a film narrative out of this database, creating
63
a unique trajectory through the conceptual space of all possible films that could have been constructed. (Manovich. 2001. The Language of New Media. 237) The arrangement of footage stored within a database is not new at all. It has been a chosen method for making a documentary since 1929. Although I pointed out that film editing in general can be compared to creating a trajectory through the database, this comparison in the case of Man with a Movie Camera constitutes the very method of the film. (Manovich. 2001. The Language of new Media. 240) The Stanford lawyer Lawrence Lessig is fighting for the idea of sharing and rearranging footage within a web community. Before this can happen, the copyright law must change. Stattdessen stellen sich online Spielregeln ein, die der Stanford Jurist Lawrence Lessig als eine Art digitale Allmende bezeichnet - also einen Ort, an dem sich eine virtuelle Gesellschaft trifft und durch nehmen und Geben eine unablssige Abfolge neuer Ideen schafft. (Heuer. Das ultimative Vorsingen. BrandEins. 06/07. 106) Conclusion One big theme in web 2.0 is to focus on the individual. Each user has unique needs and demands. A clever interface would be able to learn this information and then provide tailored content for each user. There will also be changes on the production front. The collages of multiple video sources will become state-of-the-art one day. Since there is so much footage out there, in the future, editing will involve a lot of rearranging and sampling. An interactive videoplayer would consequently be the final step of this chain. It would be an interactive environment where the borders between editing and watching are fluid.
64
Fig. 37
65
3. SUMMING UP
When we are talking about documentaries, the factor of agitation is often forgotten. ...all documentaries are propaganda because all seek to persuade (Rabiger. 2004. Directing the Documentary. 72) A Nachrichtenfilm must educate the audience and must be as objective as possible, whereas a Dokumentarfilm is allowed to be persuasive. Marshall McLuhan once said Bless advertising art for its pictorial vitality and for its verbal creativity. (Carson. 2003. Marshall McLuhan - The book of Probes. 32) Producing a dokuclip is not that different than producting a commercialclip. Both media are based on a creative and persuasive approach. The honesty of having a subjective opinion allows a dokuclip to be artistic and entertaining. Consequently the dokuclip-production turns into an experimental playground for a new generation of broadcasting producers. The use of persuasion is probably as old as mankind and it is not something likely to go away. However we do have the chance to control persuation, for example at the crossover between interaction and documentary film. The model of New Objectivity provides a neutral environment where the objective nachrichtclip and the subjective dokuclip coexist with one another. The audience gets a versatile impression of an event when watching because in addition to the newsreel, they learn more about the supporting and contradicting issues of the topic. This approach can be compared to a trial, or moreover to a political campaign when the different candidates are canvassing for their votes. The interactive environment of the New Objectivity allows the audience to decide which arguments to listen to and which clips to follow. The overall storyline stays clear because the audience always returns back to the balanced nachrichtenclip after they have watched the supporting or the contradicting dokuclip. The interactive videoplayer provides a suitable environment for this ideas. A true objectivity, like in the fictional Pensieve, will never be achieved. This thesis just provides a possible solution which allows a bit more orientation when navigating through documentary bits. With greater ease, but with more involvement than before!
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Bibliography
Books
Baur, Sandra. Videojournalismus. VDM Verlag Dr. Mller, Saarbrcken, 2006. Film Art: An Intrduction. Fifth Edition. The McGraw-Hill Companies, Inc., 1997. Marshall McLuhan - The book of Probes. Ginko Press, Corte Mandera, CA 94925, 2003. Einfhrung in die Semiotik. Trans. Jrgen Trabant Wilhelm Fink Verlag Mnchen, 1972. The age of Unreason. Harvard Business School Press, Boston, Massachusetts, 1990. Visual Journalism - A Guide for New Media Professionals. Allyn and Bacon, 75 Arlington Street, Boston, Massachusetts 02116, 2002. ed. dos logos: A Selected Logo Collection. Die Gestalten Verlag GmbH & Co.KG, Berlin, 2004. Dont make me think! A Common Sense Approach to Web Usability. 2 Edition. New Riders Press, Berkley, CA 94710, 2006. The Language of New Media. The MIT Press, Cambridge, Massachusetts, 2001. Understanding Media - The extension of Man. Routledge and Kegan Paul Limited, London, 1964. Designing Interactions. The MIT Press, Cambridge, Massachusetts 02142, 2006.
Bordwell, David.
Carson, David.
Eco, Umberto.
Handy, Charles.
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Film Verstehen. 5. Auflage. Rowohlt Taschenbuchverlag, Reinbeck bei Hamburg, 2004. Directing the Documentary. 4 edition. Focal Press, Oxfort OX2 8DP, UK, 2004. Harry Potter und der Feuerkelch. Carlsen Verlag GmbH, Hamburg, 2000. Der sthetische Imperativ. EVA Europische Verlagsanstalt, Hamburg, 2007. Schriften zum Film. Mnchen 1975. Videojournalismus Die digitale Revolution. uni-edition GmbH, D-12277 Berlin, 2003.
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Newsreel. Dictionary: Version 1.0.1. 2005 Apple Computer, Inc.
Magazines & Newspapers

Bigge, Ryan You are looking at an open book. TorontoStar. Sunday, June 10, 2007: ID. Parting Shots. Ryerson Review of Journalism. Spring 2007: 48. Liebe Leserin, lieber Leser. DieZeit. Nr.21, 16.Mai 2007: 73. Das ultimative Vorsingen. BrandEins. 06/2007: 104. Ein bunter, chaotischer Marktplatz. SpiegelSpezial. Nr. 3/ 2007: 07. Elementarteilchen. BrandEins. 02/2007: 52.
Dayus, Dayna.
di Lorenzo, Giovanni & von Randow, Gero Heuer, Steffan. Horning, Frank
Lotter, Wolf.
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arte.tv. Gesprch mit William Karel. 13 March. 2007 <http://www.arte.tv/de/geschichtegesellschaft/archivs/kubrick-in-mond/William-Karel/ 385476,CmC=385478.html>. 1957: BBC fools the nation. 08 July. 2007 <http://news.bbc.co.uk/onthisday/hi/dates/ stories/april/1/newsid_2819000/2819261.stm>. 1957: BBC fools the nation. VIDEO 08 July. 2007 <http://news.bbc.co.uk/onthisday/hi/dates/ stories/april/1/newsid_2819000/2819261.stm>. 1957: Spaghetti fools. 08 July. 2007 <http://news.bbc.co.uk/onthisday/hi/witness/ april/1/newsid_4362000/4362667.stm>. BBC apologises over Queen clips. 13 July. 2007 <http://news.bbc.co.uk/2/hi/ entertainment/6294472.stm>. Art is not a mirror held up to reality... thinkexist.com. 04 Sept. 2007 <http://thinkexist.com/quotation/art-is-nota-mirror-held-up-to-reality-but-a/347194.html>. As We May Think. theatlantic.com. 09 May. 2007 <http://www.theatlantic.com/doc/ 194507/bush>. FAQ. 14 May. 2007 <http://www.click.tv/faq.php>. Google Corporate Information: Our Philosophy. 23 May. 2007 <http://www.google.com/inti/en/corporate/ tenthings.html>. If less is more... wikipedia.com. 04 Sept. 2007 <http://de.wikipedia.org/wiki/Rem_Koolhaas>.
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Schweigen hilft nicht mehr. spiegel.de. 01 July. 2007 <http://www.spiegel.de/sport sonst/0,1518,491696,00.html>. Crisis of trust after BBC says sorry again. timesonline.co.uk. 13 July. 2007 <http://entertainment.timesonline.co.uk/tol/ arts_and_entertainment/tv_and_radio/article2067252.ece>. Nackte Haut auf dem Wohnzimmer-PC. spiegel.de. 08 August. 2007 <http://www.spiegel.de/netzwelt/tec/ 0,1518,495179,00.html>.
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FILM
Vertov, Dziga. Man with the Movie Camera. 1929 The Cinematic Orchestra: Man with a Movie Camera. DVD. Ninja Tune/Zomba 2003
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Interactive Extensions and Documentary Film

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Interactive extensions & documentary film - The visual approach to a New Objectivity | Nico Licht | HdM Stuttgart

New Objectivity Quote - Alan Kay

Quote - Google Philosophy 3. SUMMING UP

Eigenstndigkeitserklrung Figure Index Icon Index Bibliography

Page 01 Page 02 Page 05 Page 67

- A little less disorientation a little more interaction please

The Definition of Documentary Film

Fig. 1-3 | Spaghetti Harvest

Fig. 4-5 | Hajj photography, before and after the manipulation

It is not just a distinct medium like a photo that is vulnerable to manipulation. A

1.2 Visual communication - How signs influence the media

1.2.2 Denotation and Connotation

Fig. 9 | denotation and connotation

1.2.3 Semiotics in a wider context

Fig. 10 | Persuasive approach

Fig. 11 | Artistic approach

1.3.1 Losing-Conciousness and the Kuleshov Effect

Fig. 13-14 | Illustrating the interest and subjective view of media

loosing consciousness : 23s

camera view: 11s

1.5 The Point-of-View - Where the Camera Stands

1.5.4 Possible Point-of-View Scenarios for Documentaries

1.6 New Objectivity

Objectivity + Subjectivity A + Subjectivity B = New Objectivity

- A little more lucent and a little less imbalance

2.1.3 The Hurdles of Webvideo Structures

2.2 Interactive Video - Interaction Design Process

2.2.2 Meaning/ Invention

2.2.3 Mode/ Engineering

2.2.4 Mapping/ Design

2.2.5 FAQ on Interactive Documentary

2.3 New Objectivity - Prototype

2.4 Interactive Video - Production Chain

2.4.1 Saving Money When Being Inventive

Fig. 34 | SONY DSR-PD170

1.) 2.) 3.)

2.5 Future Extensions

Harris, Christopher R. & Lester, Paul Martin.

Klanten, Robert & Bourquin, Nicolas. Krug, Steve.

Zalbertus, Andre & Rosenblum, Michael.

Magazines & Newspapers

Sources from the World Wide Web

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