Do as I say, not as I do: Documentary, data storytelling and digital privacy

• Julia Scott-Stevenson ^[1]
  1. [1] University of the West of England

     University of the West of England

     Reino Unido

     
• Localización: Catalan journal of communication & cultural studies, ISSN 1757-1898, Vol. 12, Nº. 2, 2020, págs. 301-313
• Idioma: inglés
• DOI: 10.1386/cjcs_00034_1
• Texto completo no disponible (Saber más ...)
• Resumen

  • This article explores the intersections between interactive documentary and digital rights, across notions of surveillance, privacy and data. The collection of personal and sensitive data online increases exponentially, and individuals become a series of data points, only of relevance insofar as we are part of a larger group marked by similar characteristics. Yet somewhat contradictorily, we are also scrutinized completely. How might creative media production bridge this gap – recognizing our individual complexity while respecting rights to privacy? Documentary media offers one response – individual stories and voices can serve to flesh out a complex story while retaining links to a broader narrative. Interactive documentary, furthermore, can offer a reflexive form of storytelling that uses the very forms of technology in question to highlight the potential problems. This article presents case studies of interactive documentaries, exploring how the strategies of reflexivity and responsiveness can engender an understanding of issues of digital rights.

• Referencias bibliográficas
  • Aston, J. (2017), ‘Interactive documentary and live performance: From embo- died to emplaced interaction’, in J. Aston, S. Gaudenzi and M....
  • Aston, J. and Gaudenzi, S. (2012), ‘Interactive documentary: Setting the field’, Studies in Documentary Film, 6:2, pp. 125–39.
  • Aston, J., Gaudenzi, S. and Rose, M. (eds) (2017), I-Docs: The Evolving Practices of Interactive Documentary, New York: Columbia University...
  • BBC (2019), ‘Instagramification’, BBC, https://www.bbc.co.uk/taster/pilots/ instagramification. Accessed 30 January 2020.
  • BBC R&D (n.d.),‘Object-based media’, BBC Research & Development, https:// www.bbc.co.uk/rd/object-based-media. Accessed 2 February...
  • Bridle, J. (2017), ‘Something is wrong on the internet’, Medium, 6 November, https://medium.com/@jamesbridle/something-is-wrong-on-the-internet-...
  • Cadwalladr, C. and Graham-Harrison, E. (2018),‘Revealed: 50 million Facebook profiles harvested for Cambridge Analytica in major data breach’,...
  • Cucinelli, G., René-Véronneau, É. and Oldford, B. (2018),‘Interactive documen- taries and the connected viewer experience: Conversations with...
  • Deleuze, G. (1992),‘Postscript on the societies of control’, October, 59 (Winter), pp. 3–7.
  • Dovey, J. and Rose, M. (2012), ‘We’re happy and we know it: Documentary, data, montage’, Studies in Documentary Film, 6:2, pp. 159–73.
  • Duerinck, F. (2018), ‘Algorithmic Perfumery’, IDFA DocLab Symposium, Amsterdam, 17 November.
  • Eubanks, V. (2018), Automating Inequality, New York: St Martins Press.
  • Flaherty, R. J. (1922), Nanook of the North, Paris: Les Frères Revillon.
  • Gaudenzi, S. (2011), ‘The i-doc as a relational object’, I-Docs, 8 September, http://i-docs.org/the-i-doc-as-a-relational-object/. Accessed...
  • Gaylor, B. (2015), Do Not Track, Paris: Upian, https://donottrack-doc.com/en/. Accessed 12 September 2019.
  • Groes, S. (2017), ‘“I love Alaska”: Posthuman subjectivity and memory on the final frontier of our ecological crisis’, Textual Practice, 31:5,...
  • Hallema, S. (2018), The Social Sorting Experiment, the Netherlands: The Smartphone Orchestra.
  • Harper, D. (2004), ‘Wednesday-night bowling: Reflections on cultures of a rural working class’, in C. Knowles and P. Sweetman (eds), Picturing...
  • Harris, J. and Kamvar, S. (2006), We Feel Fine, http://wefeelfine.org/. Accessed 12 September 2019.
  • Kosinski, M., Stillwell, D. and Graepel, T. (2013), ‘Private traits and attributes are predictable from digital records of human behavior’,...
  • Levenson, N. (2019), Stealing Ur Feelings, Mountain View, CA: Mozilla Foundation, https://stealingurfeelin.gs/. Accessed 12 September 2019.
  • Lupton, D. (2018), ‘How do data come to matter? Living and becoming with personal data’, Big Data & Society, 5:2, doi:10.1177/2053951718786314.
  • Machkovech, S. (2017), ‘Facebook helped advertisers target teens who feel “worthless”’, Ars Technica, 1 May, https://arstechnica.com/information-...
  • Media Impact Funders (2016),‘Case study: Do Not Track’, in 2016 Media Impact Festival Case Studies, Philadelphia, PA: Media Impact Funders,...
  • Moskowitz, B. (2017), ‘Look who’s watching: What storytellers can learn from privacy and personalisation’, in J. Aston, S. Gaudenzi and M....
  • Nash, K. (2012),‘Modes of interactivity: Analysing the webdoc’, Media, Culture & Society, 34:2, https://doi.org/10.1177/0163443711430758....
  • Nichols, B. (1991), Representing Reality: Issues and Concepts in Documentary, Bloomington, IN: Indiana University Press.
  • Noble, S. U. (2018), Algorithms of Oppression, New York: New York University Press.
  • Pariser, E. (2011), The Filter Bubble: How the New Personalized Web Is Changing What We Read and How We Think, New York: Penguin.
  • Plug, S. and Engelberts, L. (2009), ‘I Love Alaska’, YouTube, https://www. youtube.com/watch?v=c-SOCGdPyNU&t=181s. Accessed 11...
  • Scott-Stevenson, J. (2014), ‘Giving time: A web documentary and its role in social engagement and participation’, Ph.D. thesis, New South...
  • Scott-Stevenson, J. (2019), ‘Virtual futures: A manifesto’, Immerse, 8 March, https://immerse.news/virtual-futures-a-manifesto-for-immersive-expe-...
  • Zuboff, S. (2019), The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of Power, London: Profile Books.
  • Scott-Stevenson, Julia (2020), ‘Do as I say, not as I do: Documentary, data storytelling and digital privacy’, Catalan Journal of Communication...