The Laboratorio Audiovisual de Investigación Social (Social Research Audiovisual Lab, or LAIS) at the Instituto Mora in Mexico has worked in both audiovisual production and the study of the visual world in which we live today. Constructing research sources from photographic images and audiovisual materials constitutes its fundamental purpose. Research methodologies that incorporate images are its plan of action and reflection, and along with the ongoing construction of alternatives, they are put into practice in diverse types of products that result in human resource training with specialized courses and workshops. With the ultimate goal of promoting research that uses and disseminates images and audiovisual materials, LAIS has numerous research documentaries in its collection, a Website with photographic libraries, projects with an array of public interest products, publications in both digital and print format, and information technology development for the online publication of research tools, as well as specialized workshops and courses on the subject. An important reference at the Latin American level for years, the Instituto Mora’s Social Research Audiovisual Lab drives the expansion of each of these resources.
Felipe Morales Leal and Lourdes Roca
Silvana Comba, Edgardo Toledo, Anahí Lovato, and Fernando Irigaray
In the current media ecology, audiences are constantly tempted by many types of content scattered across connected platforms. Since cultural goods consumption is a practice that now takes place in a constant flow across different platforms, news and documentary narratives must take advantage of the malleability of digital language to engage citizens. Narratives change according to the dominant intellectual technology of the time. In this way, oral narratives are different from printed media and the transmedia storytelling that digital communication promotes. DocuMedia: Social Media Journalism is a series of interactive documentaries developed in Argentina at Rosario National University to bring users new narratives of local interest around journalistic research topics. DocuMedia is the result of crossing documentary, investigative journalism, and data journalism techniques with a focus on users’ participation and the expansion of narrative plots. DocuMedia projects are an example of location-based storytelling, that is, a narrative that stems from hyperlocal space and place and operates as a device of constant social reconstruction. In these experiences, memory is understood as the meanings that citizens share and, above all, develop as a social practice, through which identity is expressed and shaped. The fifth DocuMedia project, Women for Sale: Human Trafficking with Sexual Exploitation in Argentina, was launched in 2015 and took on the challenge of making the leap from multimedia journalism to transmedia journalism. The transmedia framework for Women for Sale included a webdoc, or interactive multimedia documentary, a serial graphic novel of five episodes (print and digital version), posters on the street with augmented reality interaction, short videos projected on indoor and outdoor LED screens, television spots, a collaborative map, a television documentary, mobisodes, the e-book What Happens Next? Contributions and Challenges for the Reconstruction of Rights of Trafficking and Sexual Exploitation Victims, and a social media strategy designed to share information about trafficking in Argentina and to call community to action.
Alvaro Liuzzi and Tomás Bergero Trpin
The Malvinas War, also known in Spanish as the South Atlantic Conflict (conflicto del Atlántico Sur), was a war between Argentina and the United Kingdom that took place in the Malvinas Islands, South Georgia, and South Sandwich between April 2 and June 14, 1982. During 2012, thirty years after the conflict, the Malvinas/30 web documentary was produced in Argentina, conceived as a transmedia production in real time. It was designed to serve as a space of collective digital memory that would involve users and recreate on social networks the hostile atmosphere of the South Atlantic Islands at the time of the skirmish. The documentary, produced by an interdisciplinary team, was developed as a continuous interactive production for five months that, by extending its narrative through different digital platforms, sought to allow users to relive the events of the Malvinas War as they had occurred three decades before in 1982. To meet this goal, Malvinas/30 was organized along three central axes: narrative synchronization between past and present (telling the story as if it were happening today); unfolding the story on different media (social networks, traditional media, and other media); and generating interactive responses from users (a collective story as a space for historical memory).