Cindy Poremba
"So you definitely have more opportunities to do more direct distribution with interactive documentary. Most interactive documentaries exist online, and this is the primary way people actually access them. And I think we are still trying to sort what that model means and how to actually get people to know that these works are out there. How to show them properly. As I curator I find it can be very difficult to actually show works that are natively online in a way that really displays well in that environment. Then, kind of on the other side, (.) I mean again because we have, (..) in part because we were using different sorts of technologies, we also had these really highly interactive installation type experiences, which really blur the line between documentary and fine art. And those types of opportunities are also, I guess, not more accessible, but there certainly seem to be around a lot more than I have seen in the past.”
New models - Production, distribution, exhibition — Exhibition — New forms
4 Codings
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Jesse Shapins
“And so I actually think one of the areas that is most exciting to think about for distribution is the ways in which interactive experiences move into television, as well as into live theatrical settings. And I think ways in which you actually play interactive experiences in front of audiences. (.) I think there is huge opportunities in the film festival circuit. All the environments that are familiar for distribution channels of documentaries themselves - for those to be venues, where you have live performances of, frankly, websites - (.) I think can be done really well. I have seen a great performance by Kat Cizek of Highrise. We recently, last week, did a kind of showing of different Zeegas in the context (.) in San Francisco at Soundcloud. I think it is a genre that is very nascent, but I think it is hugely important for distribution, which is how do you actually turn interactive experiences into live performances in the same way that you have an audience that is for a cinematic experience present. (.) You have that for an interactive experience.”
Sandra Gaudenzi
“I think because in the last five years there has been a growing interest in interactive documentary, you have obviously a series of festivals, who maybe used to be more documentary based. Like IDFA in Amsterdam, Sheffield in the UK and you know, (.) which have realised that they needed to have an interactive section. So you have quite a lot of festivals nowadays, which are having a side, a part of their festival, dedicated to the interactive documentary.”
Vincent Morisset
“And with the Sigur Ros feature film I did -Inni - we asked the fans to propose some venues and some screenings. So the whole distribution was developed with the community. So the film was projected on an ice wall in Laponie (=Lapland), and in (inc.) they had this spherical (inc.) thing in a church in Germany. So these things could not have happened with the traditional model. Like the kind of the energy and enthusiasm of the fans helped out creating a kind of really unique presentation. And the web helped for that. So it was not about interactivity, but more about the community.”