By Nitzan Ben Shaul
Hyper narrative interactive cinema refers back to the risk for clients or "interactors" to shift at diversified issues in an evolving movie narrative to different movie narrative trajectories. Such works have resulted to date in interactor distraction instead of sustained engagement. opposite to post-modern textual and cognitive presumptions, movie immersion and computing device video game theories, this research makes use of twin coding idea, cognitive load conception, and constructivist narrative movie conception to say that interactive hyper-narrative distraction effects from cognitive and behavioral multi-tasking, which result in break up cognizance difficulties that can't be cognitively dealt with. concentration is upon cut up consciousness due to the non-critical use of de-centered and non-cohering hyper-narrative and audio-visual formations, and from interplay. For hyper-narrative interactive cinema to maintain deep engagement, multi-tasking break up consciousness difficulties inhering in such computer-based works need to be controlled, and - most significantly - made to reinforce instead of lessen engagement. This ebook outlines a few achievable ideas to build deep cognitive-emotional engagement of interactors with hyper-narrative interactive cinema
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Extra resources for Hyper-narrative interactive cinema : problems and solutions
Or the avatar as representing him, but as a manufactured robotic surrogate obeying the commands it can perform. Through such a type of shallow interaction with an ‘other’ it is impossible to generate deep engagement. I suspect that such unwarranted notions are a legacy from the widespread mistaken presumption in film studies that film viewers are effectively manipulated in films to ‘identify’ with the film camera or with film protagonists. According to this widespread notion, viewers’ identification with the camera leads them to inadvertently believe that not only what they are watching is real but that they are actually the ones looking or even creating it.
In what follows, the problem with each of these assumptions is discussed and a feasible approach to generate engaging interactive hyper-narratives is offered. 1 The Interactor as Film Protagonist Fallacy There is a widespread inadvertent presumption that an interactor can somehow be placed within the hyper-narrative as a leading protagonist is placed in a film. This is evident in Kinder’s analysis of what she terms (following Manovich), data-based narratives, referring to films that include hyper-stories structured by a game design.
He foregoes the successful evolution of cinematic narrative towards the fertile use of spectacular performances to forward the evolving narrative rather than using it as an excuse for stunning spectacles. This can be evidenced in the evolution of musicals towards a ‘life is music’ flow as in Chicago (Rob Marshall, 2002) or Dreamgirls (Bill Condon, 2006) and the engaging incorporation into the narrative flow of martial arts virtuosity in films such as Crouching Tiger, Hidden Dragon (Ang Lee, 2000), The Matrix (Andy & Larry Wachowski, 1999) and even Kill Bill: Vol.