 Aston & Gaudenzi (2012) argue that in fact interactive documentaries are not the result of a linear evolution of the documentary genre.But a distinct and separate mode of practice that goes beyond simple representation of the real, moving towards one that constructs the real through an immersive and enacted user experience.While it is generally accepted that Aston & Gaudenzi's (2012) formulation is still contested, its usefulness lies in that the discussion emerges as a response to Nichols (1992) and de Bromhead's (2009) debate on the subject of documentary modes of representation.