| Summary/Abstract |
Available on publicly accessible websites, interactive documentaries are typically free to use, allowing audiences to navigate through amounts of information too large for standard film or television documentaries. Media literacy, however, is needed to understand the ways that interactive documentaries reveal or conceal their power to narrate. Examining ARTE France’s Gaza Sderot (2008–9), Zochrot’s iNakba (2014), and Dorit Naaman’s Jerusalem, We Are Here (2016), this article discusses documentaries that prompt audiences to reflect upon asymmetries in the power to forget history and the responsibility to remember it by mapping Palestinian geographies that have been rendered invisible. Since media ecologies are increasingly militarized, particularly in Palestine/Israel, interactive documentaries like iNakba and Jerusalem, We Are Here can disrupt Israeli state branding as technologically innovative while minimizing risk of surveillance by avoiding the use of location-aware technologies that transform interaction into tracking.
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