"In this dissertation, I explore what I call “Interactive Practices about Migration.” This includes practices that combine documentary material with game features, and practices that make use of interactive maps and data visualization. All of the above share a web-based circulation, similar formats, and interactive features. Media objects like Refugees, referred to by some scholars and practitioners as “interactive documentaries,” or “i-docs” (or “webdocs,” initially, in France), were made to attract younger audiences that had turned away from traditional media such as television broadcasts, newspapers and film, towards web-based media. Such terms highlight a connection with a documentary film tradition that goes back to Grierson, and his concept of documentary. This scholarly tradition (Rotha [2011]1936) understands documentary as essentially an art form: it was born with directors such as Robert Flaherty and possesses a specific narrative structure and film form. The use of terms like “webdocs” or “i-docs” would then continue this tradition by augmenting the traditional documentary form with different interactive strategies. Interactivity enables users, producers, and creators to collaborate, to “co-create” (Wiehl 2016) or to simply shape the narrative in a non-linear way. Such productions form part of so-called “participatory culture” (Jenkins 2006). According to Jenkins, the benefit of participation is that instead of merely consuming media, users have the chance to create content themselves. Indeed, in interactive documentaries, participation is celebrated as a way of stepping outside a “passive” form of viewing (O’Flynn 2012)." (Introduction, page 10)