The exposure of social problems such as forced disappearances is necessary for the history of society. The interactive documentary is a new digital proposal for the creation of spaces for the reconstruction of a social memory. In this paper, a content analysis is used to analyze the construction of the interactive narrative for the reconstruction of memory in the webdoc Forensic Landscapes and, with this, to identify its narrative composition in the construction of new spaces for the user’s experience. The interactive documentary generates a shared feeling between the user and the interface due to resources such as hypertextuality, database, narrative elements, representation modalities and interactivity. Thus, immersion is adhered, a new way of exposing a social theme in 360 degrees which recreates a sensory experience within an imaginary universe. Through the story, the memory of the agents involved in forced disappearances in Latin America is reconstructed.

Au cours des dernières années, le domaine du documentaire interactif s’est progressivement développé en raison des changements survenus dans le monde de l’Internet et d’études académiques croissantes sur le sujet. Pourtant, on sait relativement peu de choses sur la relation entre l’usager et le documentaire interactif. L’objet de cette étude est précisément de mesurer les attitudes et les interactions de l’usager exposé à un documentaire interactif décliné en différentes versions, disposant chacune d’un degré d’interactivité plus ou moins développé. L’étude de l’attitude des usagers nous a conduit à approfondir les notions d’engagement narratif, d’interactivité perçue, d’engagement perçu et d’attitude à l’égard du site Web documentaire interactif. Un autre objectif de cette étude est d’examiner la relation entre interactions réelles et perceptions des usagers. L’étude a cherché à comparer l’interactivité et la linéarité en terme d’engagement narratif et d’engagement perçu. Un travail de terrain a été conduit auprès de 360 étudiants jordaniens. L’échantillon a été divisé en trois groupes, chaque groupe visualisant un des 3 documentaires interactif et répondant au questionnaire relatif. L’étude a également utilisé deux logiciels pour tracer le comportement réel de l’usager. Les résultats de cette étude mettent à jour une relation significative entre d’une part le haut niveau d’interactivité réelle et d’autre part l’interactivité perçue et l’attitude à l’égard du site Web documentaire interactif. D’autre part, les résultats ont révélé une corrélation positive entre d’une part l’interactivité perçue et de l’autre l’engagement perçu et l’attitude à l’égard du site Web documentaire interactif. Cependant, l’étude n’a pas trouvé de corrélation entre l’interactivité perçue et l’engagement narratif. De plus, les résultats ont montré que l’interaction réelle des participants est positivement corrélée à leurs perceptions. Enfin, les participants qui ont regardé le documentaire linéaire sont significativement plus engagés dans la narration documentaire que les autres groupes. Cette étude présente enfin les résultats, les discute et envisage des perspectives futures. / In recent years, interactive documentary field has been gradually growing because of great changes in the world of Internet, promising interactive documentary projects, and the increase in academic studies within the field. Nevertheless, relatively little is known about the relationship between user and interactive documentary. The aim of this study was to measure users’ attitudes and actual interaction toward different levels of interactivity manipulated in two designed interactive documentaries. The users’ attitudes were categorized in this study as: narrative engagement, perceived interactivity, perceived involvement, and attitude toward the interactive documentary website. Another purpose of this study was to examine the relationship between users’ actual interaction and their perceptions. To fully understand interactive documentary, the study, therefore, sought to compare interactivity with linearity in terms of narrative engagement and perceived involvement. A sample of 360 participants was randomly divided into three groups and assigned to view three designed documentaries, and to answer the related questionnaire. The study also used software packages to measure and monitor users’ actual behaviors. The findings of this study indicated that there was a significant relationship between the high level of actual interactivity and both perceived interactivity, and attitude toward the interactive documentary website. On the other hand, the findings revealed that there was a positive correlation between perceived interactivity and both perceived involvement and attitude toward the interactive documentary website. However, the study did not find a correlation between perceived interactivity and narrative engagement. Moreover, the findings showed that the participants’ actual interaction was positively correlated with their perceptions, and the participants who viewed the linear documentary were significantly involved with the documentary narrative more than other groups. Discussion, limitation, and future studies were presented in this study.

El documental interactivo trae consigo diversos cambios en la forma de narrar historias, desde cómo plasmamos la estructura documental, a la incidencia del usuario en la misma. Estas transformaciones llegan de la mano con nuevas narrativas, ordenes, formas de contar las historias, y el punto más prominente, que es la participación del usuario en el documental. En el siguiente trabajo de investigación se buscó identificar los aportes de la interactividad basados en la percepción del usuario, centrándose en la involucración del usuario y el aumento de información. Para tal fin, se estudió la percepción del usuario delimitando el trabajo a dos documentales con una interfaz temporal y espacial, dado que se considera que son los campos dónde la interactividad interviene más. Para medir la involucración del usuario y la efectividad de estas interfaces, se realizó entrevistas a 10 personas con perfiles diversos con el objetivo de conseguir una apreciación vasta de los diversos aportes de la interactividad. Entre los resultados más relevantes se identificó el nexo entre el diseño de la interfase y los grados de involucración, así como el aumento de información ligado a la combinación de tipos de información. / The interactive documentary brings with it several changes in the way we tell stories, from how we shape the documentary structure, to the incidence of the user in it. These transformations go hand in hand with new narratives, orders, ways of telling stories, and the most prominent point, which is the user's participation in the documentary. The following research work sought to identify the contributions of interactivity based on the user's perception, focusing on user involvement and the increase of information. To this end, user perception was studied by limiting the work to two documentaries with a temporal and spatial interface, since it is considered that these are the fields where interactivity intervenes the most. To measure user involvement and the effectiveness of these interfaces, interviews were conducted with 10 people with different profiles in order to obtain a broad appreciation of the various contributions of interactivity. Among the most relevant results, the link between interface design and degrees of involvement was identified, as well as the increase in information linked to the combination of types of information. / Tesis

Durante las últimas décadas, el cine contemporáneo contempla nuevas formas de comprensión de las realidades humanas, ejercicio al que podríamos denominar representación. Es esta necesidad de representar, la que se plasma en la realización audiovisual, ya no solo como una diégesis ficcional sino también como una documentación de la realidad, que conciben entre sí un sistema de hibridación cinematográfica cada vez más presente en la industria independiente. La siguiente investigación tiene como objeto de estudio un producto de docuficción dirigido por el director polaco Michal Marczak y titulado como All These Sleepless Nights (2016), el cual contiene características propias de dos formatos cinematográficos: la ficción y el documental, como medios de comisión de una realidad subjetiva pero que se exhibe como universal. La finalidad de analizar esta película se encuentra en conocer de qué manera los recursos narrativos de la docuficción permiten visibilizar nuevos panoramas sobre la reinterpretación de la realidad. Asimismo, también se explorará cómo reconocer la funcionalidad de aquellos elementos narrativos presentes en el film, tales como la construcción de personajes, el manejo del espacio y el manejo del tiempo, en el entrenamiento de revisión de las nuevas realidades en el cine, propiamente de autor. Dentro de la metodología utilizada para ejecutar la investigación, se consideró el paradigma interpretativo, ya que nos ajustaremos a la comprobación de las preguntas de investigación planteadas por medio de la identificación, descripción y análisis de datos cualitativos referentes al film en estudio. Se propone analizar tres categorías mencionadas en el caso aplicado a 20 escenas dentro del esquema del film. Finalmente, nos enfocamos en el propósito de expandir información relevante sobre un medio cinematográfico vanguardista como es la docuficción y su tratamiento narrativo. / During the last decades, contemporary cinema has contemplated new ways of understanding human realities, an exercise that we could call representation. It is this need to represent, which is reflected in audiovisual production, not only as a fictional diegesis but also as a documentation of reality, that they conceive of a film hybridization system that is increasingly present in the independent industry. The following research has as object of study a docufiction product directed by Michal Marczak and titled All These Sleepless Nights (2016), which contains characteristics of two cinematographic formats: fiction and documentary, as means of commission of a reality subjective but exhibited as universal. The purpose of analyzing this film is to find out how the narrative resources of docufiction make visible new panoramas about the reinterpretation of reality. Likewise, it will also explore how to recognize the function of those narrative elements present in the film, such as the construction of characters, the management of space and the management of time, in the training of revision of the new realities in the cinema, properly auteur. Within the methodology used to carry out the research, the interpretive paradigm was considered, since we will adjust to the verification of the research questions posed by means of the identification, description and analysis of qualitative data referring to the film under study. It is proposed to analyze three categories related to the narrative, in the case applied to 20 scenes within the film's scheme. Finally, we focus on the purpose of expanding relevant information about an avant-garde cinematographic medium such as docufiction and its narrative treatment. / Trabajo de investigación

Ces dix dernières années, plusieurs centaines de web-documentaires ont été publiés sur Internet. Si ce format émergent connaît un succès d’estime important auprès des professionnels des médias, son design ne va pas de soi. Dès lors, comment les théories du cinéma documentaire et des médias informatisés éclairent-elles les métamorphoses médiatiques caractéristiques de ces « nouvelles écritures » ? Quels sont les enjeux ontologico-esthétiques et communicationnels d’un documentaire interactif ? Quel rôle et quel pouvoir l’instance d’énonciation doit-elle octroyer à un « spectateur-actant » ? Afin de répondre à ces questions, un état des lieux de la production francophone permet tout d’abord d’établir une typologie des différents modes d’interaction. Ensuite, une approche ethnographique, fondée sur une observation participante du design de B4, fenêtres sur tour, au sein de France Télévisions, interroge l’ensemble des controverses socio-techniques et sémio-pragmatiques qui jalonnent les six mois de conception. Une analyse par théorisation ancrée met en exergue les différentes dimensions d’un Utilisateur Modèle négociées, de manière plus ou moins implicite, par l’ensemble des acteurs. Enfin, les usages supposés du web-documentaire sont confrontés à une évaluation de l’expérience utilisateur. Les jonctions et disjonctions entre les figures d’un Utilisateur Modèle, Statistique et Empirique contribuent in fine à mieux appréhender le design de ce format hybride et non stabilisé. / In the last few years, several hundred interactive documentaries (i-docs) have been published on the Internet. If many media professionals prize the i-doc format, its design remains a challenging feat. Given this, what light do film documentary theories and digital media shed on the mediated metamorphoses that typify the “New Writings” movement? What are the communicational and ontologico-aesthetic issues of i-docs? What role and what power should an instance of enunciation accord to the “actant-spectator”?In response to these questions, our study of the current state of the French-speaking production scene brought to the fore a typology of interaction modes. Following this observation, an ethnographic approach, based on a participant observation method, questioned the overall sociotechnical and semio-graphic issues that marked the six-month design process of an i-doc called B4, fenêtres sur tour for the State-run France Télévisions. A Grounded Theory analysis of the data highlighted the different dimensions of a more or less implicit negotiated Model User used by the actors. Finally, the purported uses of i-docs were questioned in evaluating users’ experience. The junctions and disjunctions involving the interaction of the User, Statistical and Empirical Models contributed to a better grasp of the designing of the hybrid and non-stabilised i-doc format.