Experimenting on Film: Technology Meets Arts

Experimenting on Film: Technology Meets Arts

Rui António (CIAC-Research Centre for Arts and Communication, University of Algarve, Faro, Portugal), Bruno Mendes da Silva (CIAC-Research Centre for Arts and Communication, University of Algarve, Faro, Portugal), João M.F. Rodrigues (LARSyS, ISE, CIAC, University of Algarve, Faro, Portugal) and Mirian Nogueira Tavares (CIAC-Research Centre for Arts and Communication, University of Algarve, Faro, Portugal)
DOI: 10.4018/IJCICG.2017010104

Abstract

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 immersiveness by interrupting the narrative to allow choices and the use of graphics to alert about decision points. This article describes how “Dialectical Polyptych” focuses on the possibility of creating an interactive aesthetic experience of filmic visualization without the interference of visual elements, allowing immersive participation with a transparent interface.
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2. Contextualization

“Dialectical Polyptych: an interactive movie installation” seeks to explore new possibilities of interaction in the film view in an immersive and intuitive way, offering the viewer the role of film editing in real time through transparent interfaces.

2.1. The Film Narrative and the Editing

The editing is one of two basic components in audio-visual production (Bedoya, 2003), the other component in the audio-visual language is the framing or selection unit. According to Deleuze (Deleuze, 2014), the evolution of cinema grows up with the editing, the mobile camera and the emancipation of taking views. Griffith had contributed to the editing by giving emotional impact through the long shot, medium shot, close-up, subjective camera (point of view of the character) and travelling (moving camera) (Gosciola, 2003). Thus, Griffith wanted to involve the spectator emotionally through scale changes in the shot, giving the public a progressive emotion. Porter expanded the idea of linear narrative with the use of parallel-editing to depict two simultaneous events or points of view (Musser, 2012; Jenkins, 2013). This technique alternates two or more scenes that often happen simultaneously but in different locations. Like Porter’s technique, “Dialectical Polyptych” prototype also invokes parallel editing but from the result of spectator interaction.

For interactive cinema, technological advances are not enough. It is also necessary to point out new solutions to the narratives. In the beginning of the XX century, Kuleshov (1994) argues that “the essence of cinema, the medium that allows obtaining an artistic impression, is the editing”. For Eisenstein (2002) editing is “the primary means for a really important creative transformation of nature” and “cinematography is, first of all, editing”. Pudovkin said: “the editing builds scenes from the separate pieces” (Pudovkin, 1929). The combination of these pieces forms different meanings depending on the chosen sequence. Thus, if given the user the possibility, there will be a similar editing to what happens on the Internet with hypertext, where the user also chooses the “pieces” of text to be read.

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