Moments of Noticing: ‘I See You’ as a Speculative Work Towards an Essayistic List Practice for Interactive Documentary



This chapter uses an interactive film as a case study to argue for list making as an alternative to stories for making interactive documentaries. It argues that lists are suited to network-specific media forms because lists are made up of discrete parts that can be easily arranged in multiple ways. This raises the problem of how makers and audiences might understand lists and the chapter details how this has been explored in the case study.


interactive documentary essay film noticing lists 


  1. Bogost, Ian. Alien Phenomenology. Or What It’s Like to Be a Thing. Minneapolis: University of Minnesota Press, 2012.CrossRefGoogle Scholar
  2. Braiser, Hannah (dir.). I See You. Korsakow Film, 2014, Web.Google Scholar
  3. Brasier, Hannah. “Interface Development. Vertical and Horizontal Lists. Infinite and Finite Lists.” Hannah Brasier, March 6, 2014, Web.Google Scholar
  4. Brush, Jason. “How Interactivity Is Evolving the Documentary.” DOX European Documentary Magazine, no. 102, September, 2014, Web.Google Scholar
  5. Chanan, Michael. “The Role of History in the Individual: Working Notes for a Film.” The Cinema of Me: The Self and Subjectivity in First Person Documentary. Ed. Alisa Lebow. New York: Columbia University Press, 2012. 15–32.Google Scholar
  6. Corrigan, Timothy. The Essay Film: From Montaigne, After Marker. Oxford: Oxford University Press, 2011.Google Scholar
  7. Corrigan, Timothy, and Patricia White. The Film Experience: An Introduction. 3rd ed. Boston: Bedford/St. Martin’s, 2012.Google Scholar
  8. Eco, Umberto. The Infinity of Lists. New York: Rizzoli, 2009.Google Scholar
  9. Frankham, Bettina Louise. “A Poetic Approach to Documentary: Discomfort of Form, Rhetorical Strategies and Aesthetic Experience.” Dissertation, University of Technology Sydney, 2013.Google Scholar
  10. Keaton, Diane (dir.). Heaven, Island Pictures, 1987.Google Scholar
  11. Manovich, Lev. The Language of New Media. Cambridge: Massachusetts Institute of Technology Press, 2001.Google Scholar
  12. Marker, Chris (dir.). Sunless, Argos Films, 1983.Google Scholar
  13. Mason, John. Researching Your Own Practice: The Discipline of Noticing. London: Routledge Falmer, 2002.Google Scholar
  14. Mavor, Carol. “Happiness with a Long Piece of Black Leader: Chris Marker’s Sunless.” Art History 30.5 (2007): 738–756.Google Scholar
  15. Miles, Adrian. “Interactive Documentary and Affective Ecologies.” New Documentary Ecologies: Emerging Platforms, Practices and Discourses. Ed. Kate Nash, Craig Hight and Catherine Summerhayes. London: Palgrave Macmillan, 2014. 67–82.CrossRefGoogle Scholar
  16. Rascaroli, Laura. The Personal Camera: Subjective Cinema and the Essay Film. London: Wallflower Press, 2009.Google Scholar
  17. Shonagon, Sei. The Pillow Book. Trans. Meredith McKinney. London: Penguin Group, 2006.Google Scholar
  18. Soar, Matt (dir.). Ceci N’est Pas Embres. Korsakow Film, 2012, Web.Google Scholar
  19. Soar, Matt. “Making (with) the Korsakow System: Database Documentaries as Articulation and Assembly.” New Documentary Ecologies: Emerging Platforms, Practices and Discourses. Ed. Kate Nash, Craig Hight and Catherine Summerhayes. London: Palgrave Macmillan, 2014. 154–173.CrossRefGoogle Scholar
  20. Thalhofer, Florian. “About.” KORSAKOW: Dynamic Storytelling. March, 2015, Web.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  1. 1.College of Design and Social ContextRMIT UniversityMelbourneAustralia

Personalised recommendations