[ecrea] Call for papers on Non-fiction Transmedia

The deadline for this CFP is coming up on March 12th


CfP VIEW Journal Vol. 5, Issue 10 / 2016
Non-Fiction Transmedia

Over the last decade, the technological tool set for audiovisual
storytelling has vastly expanded. On-going developments in fields
including data visualisation, social media, interactive video, second
screens, haptic devices, artificial intelligence and virtual reality
have led to a proliferation of opportunities for media makers to
reconceptualise linear narrative formats, to embed them in non-linear
structures and networks, or to abandon them altogether.

The term “non-fiction” has been used in film language to describe movies
that are not in the area that the industry and the audience define as
“fictional cinema”. Audiovisual non-fiction is a vast field containing
documentary, journalism, film essays, educational videos, museum
exhibitions, scientific films, institutional, industrial or propaganda
videos, etc. Over the last years, interactive digital media have greatly
affected the logics of production, exhibition and reception of
non-fiction audiovisual works, leading to the emergence of a new area
called “interactive and transmedia non-fiction”. One of its key points
is that it can deal with factual material in such a way that it
influences and transforms the real world around us. While the
audiovisual non-fiction field has been partially studied, a few years
ago emerged a new field focusing on interactive and transmedia
non-fiction narratives, an unexplored territory that needs new theories
and taxonomies to differentiate from its audiovisual counterpart.

How have established media organisations responded to these
developments? While some have provided support networks, funding, and
online broadcast opportunities to help foster experimentation in the
cross-over domain of ‘transmedia’, other media organisations – including
many public service and commercial broadcasters, archives, and
publishers – have stuck to known business models. The result is that
many areas of transmedia (for example, interactive documentary) remain
niche offerings.

With this issue we aim to offer a scholarly perspective on the emergence
of transmedia forms, their technological and aesthetic characteristics,
the types of audience engagement they engender, the possibilities they
create for engagement with archival content, the technological
predecessors that they may or may not have emerged from, and the
institutional and creative milieux in which they thrive (or don’t
thrive). We welcome contributions from all perspectives including but
not restricted to aesthetic, sociological, industrial, media
archaeological, and audience/reception studies perspectives.

*** Proposals are invited on (but not limited to) ***

- What predecessors for transmedia storytelling can be found in
television’s past
- What support mechanisms have enabled the current wave of productions
and could in future foster a further European (re-)naissance of the form
- What role have audiovisual archive materials to play in the expanded
possibilities of transmedia storytelling
- How have media producers and consumers responded to the opportunities
for non-linear delivery made possible by the latest wave of interactive
video production apps
- What technological, conceptual, institutional, or other limitations
are currently at play in global transmedia culture
- How could transmedia storytelling benefit/boost the non-fiction field
- Exploration of main fields of non-fiction storytelling through a
transmedia approach: documentary, journalism, essay, museums, education,
etc.
- Interactions between fiction & non-fiction in transmedia
- …

*** Practicals ***

Contributions are encouraged from authors with different kinds of
expertise and interests in television and media history.

Paper proposals (max. 500 words) are due on March 12th, 2016.
A notice of acceptance will be sent to authors in the 1st week of April.
Articles (3 – 6,000 words) will be due on July 3d, 2016.
Longer articles are welcome, given that they comply with the journal’s
author guidelines.

Submissions should be sent to the managing editor of the journal, Dana
Mustata: (journal /at/ euscreen.eu) <mailto:(journal /at/ euscreen.eu)>
For further information or questions about the issue, please contact the
co-editors: Arnau Gifreu-Castells (University of Vic-Central University
of Catalonia), Richard Misek (University of Kent), and Erwin Verbruggen
(Netherlands Institute for Sound and Vision) via (support /at/ viewjournal.eu)
<mailto:(support /at/ viewjournal.eu)>.

*** About VIEW Journal ***

Visit viewjournal.eu <http://viewjournal.eu> for the current and back
issues.

VIEW Journal is supported by the EUscreen Network and published by the
Netherlands Institute for Sound and Vision in collaboration with Utrecht
University, Royal Holloway University of London, and University of
Luxembourg.

VIEW is proud to be an open access journal. All articles are indexed
through the Directory of Open Access Journals, the EBSCO Film and
Television Index, Paperity and NARCIS.


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