Abstract
Interactive Filmmaking is both an aesthetic and technological challenge. Steerable plots, where audiences are not passive viewers but active participants of the narrative experience, require an engaging narrative model as well as a technologically feasible structure. This article discusses the connection between aesthetics, cinema, and interactivity and presents a model for interactive narration that is based on the audience's ability to read and interpret footage differently according to its context. Through a detour narrative model it is possible to engage audiences in a coconstructive hypermedia experience while at the same time minimizing the amount of footage required. An interface model that allows seamless hypervideo navigation through graphic interaction is also discussed, and the interactive short film The Crime or Revenge of Fernando Moreno is presented, along with user experience and usability studies that experimentally prove our hypothesis.
- Atkinson, S. 2008. Crossed Lines. In Proceedings of the 3rd International Conference on Digital Interactive Media in Entertainment and Arts. 537--538. Google Scholar
Digital Library
- Brand, J. and Knight, S. 2005. The narrative and Ludic nexus in computer games: Diverse worlds II. In Proceedings of the DiGRA Conference: Changing Views -- Worlds in Play.Google Scholar
- Brooks, K. 1996. Do story agents use rocking chairs? The theory and implementation of one model for computational narrative. In Proceedings of the 4th ACM International Conference on Multimedia. 317--328. Google Scholar
Digital Library
- Canetti, E. 1984. Crowds and Power. Farrar, Straus and Giroux, New York, NY.Google Scholar
- Csikszentmihalyi, M. 1990. Flow: The Psychology of Optimal Experience. Harper & Row, New York, NY.Google Scholar
- Davenport, G. 2002. Art and other anxieties: Steerable stories. In Proceedings of the Conference on Story Telling in the Digital Age.Google Scholar
- Dorfles, G. 1984. El Intervalo Perdido. Lumen, Barcelona, Spain.Google Scholar
- Eco, U. 1989. The Open Work. Harvard University Press, Cambridge, MA.Google Scholar
- Halliwell, L. 1988. Halliwell's Filmgoer's and Video Viewer's Companion. Harper Collins, New York, NY.Google Scholar
- Handler, C. 2008. Digital Storytelling, Second Edition: A Creator's Gude To Interactive Entertainment. Focal Press. Burlington, MA.Google Scholar
- Jauss, R. 1982. Toward an Aesthetic of Reception. University of Minnesota Press, Minneapolis, MN.Google Scholar
- Johnson, K. 2008. Lost cause, an interactive film proyect. In Proceedings of the 16th ACM International Conference on Multimedia. Canada. 569--578. Google Scholar
Digital Library
- Knoller, N. 2004. InterFace portraits: communicative-expressive interaction with character's mind. In Proceedings of the 1st ACM Workshop on Story Representation, Mechanism and Context. 63--66. Google Scholar
Digital Library
- Lew, M. 2004. Live cinema: an instrument for cinema editing as a live performance. In Proceedings of the International Conference on Computer Graphics and Interactive Techniques. 117. Google Scholar
Digital Library
- Macfadyen, A., Stranieri, A., and Yearwood, J. 2007. In Proceedings of the 4th Australasian Conference on Interactive Entertainment. Article 13.Google Scholar
- Márquez, M., González, P., and Osawa, K. 2007. Mutable cinema, a participatory narrative engine. In Proceedings of the 2nd International Conference on Digital Interactive Media in Entertainment and Arts. 181--182. Google Scholar
Digital Library
- Domike, S, Mateas, M., and Vanouse P. 2002. The recombinant history apparatus presents: Terminal Time. In Mateas, M. and Sengers, P. Eds., Narrative Intelligence. John Benjamins, Amsterdam.Google Scholar
- Nack, F. 2003. Capturing experience—A matter of contextualising events. In Proceedings of the Multimedia Workshop and Experiential Telepresence (ETP'03). 53--64. Google Scholar
Digital Library
- Perniola, M. 2001. La Estetica del Siglo XX. La balsa de la medusa, Madrid, Spain.Google Scholar
- Polaine, A. 2005. The flow principle in interactivity. In Proceedings of the 2nd Australasian Conference on Interactive Entertainment. 151--158. Google Scholar
Digital Library
- Sawhney, N., Balcom, D., and Smith, I. 1996. HyperCafe: Narrative and aesthetic properties of hypervideo. In Proceedings of the 7th ACM Conference on Hypertext. 1--10. Google Scholar
Digital Library
- Schipman, F., Girgensohn, A., and Wilcox, L. 2008. Authoring, viewing and generating hypervideo: An overview of hyper-hitchcock. ACM Trans. Multimedia Comput. Comm. Appl. 5, 2. Google Scholar
Digital Library
- Stenzler, M. and Eckert, R. 1996. Interactive video. SIGCHI Bull. 28, 2, 76--81. Google Scholar
Digital Library
- Szillas, N. 2005. The future of interactive drama. In Proceedings of the 2nd Australasian Conference on Interactive Entertainment. 139--199. Google Scholar
Digital Library
- Tokuhisa, S., Ding, A., and Inakage, M. 2005. Tri-Story as “intuitive cinema” interactive storytelling based on physical action for multi-screen. In Proceedings of the ACM SIGCHI International Conference on Advances in Computer Entertainment Technology. 314--317. Google Scholar
Digital Library
- Vattimo, G. 1997. Beyond Interpretation: The Meaning of Hermeneutics for Philosophy. Stanford University Press, Palo Alto, CA.Google Scholar
- Xu, R. Y. D., Wang, R., Parameswaran, N., and Jin, J. S. 2003. Media streaming synchronization and video interaction: A survey. In Selected Papers from the Pan-Sydney Workshop on Visualisation. 22. 113--115. Google Scholar
Digital Library
Index Terms
Interactive films and coconstruction
Recommendations
Lost cause, an interactive film project
MM '08: Proceedings of the 16th ACM international conference on MultimediaOne of the challenges in designing an interactive cinematic experience is to offer interactive choices, which does not distract the user from immersion into the story. The interactive film Lost Cause focuses on the life of the main character explored ...
Experimenting on Film: Technology Meets Arts
Interactive films depend on the participation of viewers. This participation usually translates into making decisions that determine the sequence of the narrative. Many interactive films make use of an interaction design that reduces the viewer's ...
Narrative Urgency: Motivating Action in Interactive Digital Media
Interactive StorytellingAbstractIn this paper, we address specific problems related to the temporal development of narratives in games and interactive media in general. Game narratives can be inconsequential when they progress isolated from coherent temporal aspects, which in ...






Comments