- Copyright Page
- Three Canadian Film Policy Frameworks
- Canadian Cinema and the Intellectual Milieu
- On the Road: Canadian Cinema and the World
- Mutable Views: Landscape at the Intersection of Cinema and Contemporary Art
- Movie Envy: Cinema in the White Cube (Montreal, 1995–2015)
- (Re)Claiming Cultural Identity: The NFB’s <i>Eskimo Legends</i> and Inuit Animation from Cape Dorset
- Canadian Indigenous Cinema: From Alanis Obomsawin to the Wapikoni Mobile
- The Polarities and Hybridities of Arctic Cinemas
- Diasporic Intimacy: Chinese-Canadian Documentary and the Poetics of Relation
- Canadian Cinema and Its Borders
- Regional Scenes and Canadian Screens: Film in Atlantic Canada
- A Poetics of Discretion
- The Emotional Geographies of Québécois Cinema
- Toronto on Screen
- Quebec Cinema as Global Cinema
- Stand Tall: Winnipeg Cinema and the Civic Imaginary
- Still Here, Still Queer? Rethinking Queer Canadian Cinemas/Canadian Cinemas Queered
- Political Modernism, Policy Environments, and Digital Daring: The Changing Politics and Practice of Cine-Feminism in Quebec, 1967–2015
- From Expanded to Intimate Cinemas in Canadian Experimental Film/Video
- The Bloody Brood: Canadian Horror Cinema—Past and Present
- Popular Quebec Cinema and the Appeal of Folk Homogeneity
- The Musicality of Canadian Cinema
- The World Navigated: Interactive Documentaries in Canada
- The Gaming Turn
Abstract and Keywords
This chapter provides an overview of the emergence of interactive documentary (i-doc) in Canada and situates it within the history of the National Film Board’s Challenge for Change program, a participatory documentary experiment envisioned as a means of social change. It outlines various kinds of interactivity using examples from recent Canadian works. Additionally, it considers how the interactive documentary shifts spectator/screen relations and the implications this has on the documentary construction of reality. Focusing on how the spectator is positioned differently to the world on screen—as a navigator instead of as a viewer—this article examines two opposing perspectives on the potential of interactivity to be used as a tool for change.
Jessica Mulvogue, post-doctoral fellow, York University.
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