Interactive Movie: A response to Passivity of the Medium
Journal Title: In Medias Res - Year 2019, Vol 8, Issue 15
Abstract
Even though the film is a passive medium and despite the obstacles of creative, technical and financial nature, experimenting with the interactivity started half a century ago. The audience was gradually enabled to choose alternative outcomes, influence the development of characters, and even co-create the content. This work follows the evolution of interactivity in cinema, television, home video, internet and video installation through four periods: analogue, digital, simulation and emulation. It also reviews the potential of symbiotic link between film and the audience.
Authors and Affiliations
Tihoni Brčić
Domestic and Foreign Structured by Imagination in the World of Virtual Communication
This paper deals with the relationship of domestic and foreign, which is structured by new social power of imagination in a deterritorialized, globally networked world. It is grounded in the theory of disjuncture by Arju...
Europski vojni savez – da, ali…
U sklopu fakultetske ekskurzije s kolegama sam 12. svibnja 2017. posjetio, između ostaloga, sjedište Europske pučke stranke u Briselu, ulica Rue du Commerce 10. Primio nas je generalni tajnik, poštovani gospodin Antonio...
Epistemological Matrix of Contemporary Visual Culture
The mental structure of the hipermodern West, which has been compounded since the Renaissance until today, reflecting a complex mutation of the collective and individual view of the world, maintaining a radical change of...
Myth and Imagination
Myth and imagination have created one another. Our reality has born and created our imagination, and then our imagination has shaped and complemented our reality. We are creating a world the way we want it to be, and the...
Networking the Past: Memory Cultures of New Media Ecology
In this paper we want to develop an interdisciplinary framework for a critical review of traditional theories of meaning, as well as the status, discourses, forms and practi-ces of memory (and forgetting) in digitally me...