Dialectical Polyptych: an interactive movie installation

Most of the known video games developed by important software companies usually establish an approach to the cinematic language in an attempt to create a perfect combination of narrative, visual technique and interaction. Unlike most video games, interactive film narratives normally involve an interruption in time whenever the spectator has to make choices. “Dialectical Polyptych” is an interactive movie included in a project called “Characters looking for a spectactor”, which aims to give the spectator on-the-fly control over film editing, thus exploiting the role of the spectator as an active subject in the presented narrative. This paper presents an installation based on a mobile device, which allows seamless real-time interactivity with the movie. Different finger touches in the screen allow the spectator to alternate between two parallel narratives, both producing a complementary narrative, and change the angle or shot within each narrative.info:eu-repo/semantics/publishedVersio

The Reactor Room: An Immersive Chernobyl Exhibition

The Reactor Room: An Immersive Chernobyl Exhibition is a digital installation featuring the work of students in Professor José Vergara’s course Chernobyl: Nuclear Narratives and the Environment (Spring 2020) at Swarthmore College. Students designed this interactive exhibition to facilitate public engagement with the catastrophe. Students researched topics of their own choosing and produced outward-facing digital projects that investigate diverse aspects of Chernobyl’s cultural, environmental, social, and political consequences: maps that visually trace the radioactive fallout; biographies of key figures who experienced, survived, and perpetrated one of the worst nuclear disasters in history; audio-based works that engage with the sounds, silences, and songs associated with Chernobyl; a virtual tour of street art in Pripyat; annotated poetry translations; timelines and StoryMaps that trace Chernobyl\u27s effects on flora, fauna, and culture, among many others. Individually, these projects are snapshots that reflect the fragmented narratives and memories of Chernobyl. Together, they invite readers to become an active participant in the study of Chernobyl’s mythology

Narrating the past: virtual environments and narrative

This paper explores how traditional narrative language used in film and theatre can be adapted to create interactivity and a greater sense of presence in the virtual heritage environment. It focuses on the fundamental principles of narrative required to create immersion and presence and investigates methods of embedding intangible social histories into these environments. These issues are explored in a case study of Greens Mill in the 1830’s, interweaving the story of the reform bill riots in Nottingham with the life of George Green, mathematician and proprietor of the Mill

Fans and Adaptation: An Analysis of the Use of Interactive Storytelling in The Lizzie Bennet Diaries

By using adaptations of Jane Austen’s classic novel Pride and Prejudice (1813) as a frame of reference, my thesis will demonstrate that transmedia narratives are most effective in tandem with original texts that have a history of successful adaptations due to the perpetual audience of fans and their previous knowledge of the story to meaningfully, as well as canonically, interact with the narrative. This thesis will first introduce theories surrounding adaptations and look at previous Pride and Prejudice adaptations in light of a devoted fan base. It will then introduce the concept of transmedia narratives and examine the culture of fans and their interactions with texts in the digital age. Lastly, I will analyze the success of the Internet production company Pemberley Digital and their transmedia YouTube adaptation of Pride and Prejudice that boasts a view count of 82.2 million views and secured an Emmy. This analysis will apply the theories on transmedia, fandom, and adaptation introduced in the first three sections to demonstrate that interactive transmedia narratives are most effective when they have an established fan base, which is most easily found in popular texts prone to adaptations. Digital storytelling will only continue to grow, especially as upcoming generations favor online streaming and independent producers as opposed to the cable television shows created by the larger media corporations. The research contained within this thesis will show the importance of appealing to wider audiences by creating richer, more immersive narratives through transmedia and paratexts that encourage collective authorship

Evaluating Engagement in Digital Narratives from Facial Data

Engagement researchers indicate that the engagement level of people in a narrative has an influence on people's subsequent story-related attitudes and beliefs, which helps psychologists understand people's social behaviours and personal experience. With the arrival of multimedia, the digital narrative combines multimedia features (e.g. varying images, music and voiceover) with traditional storytelling. Research on digital narratives has been widely used in helping students gain problem-solving and presentation skills as well as supporting child psychologists investigating children's social understanding such as family/peer relationships through completing their digital narratives. However, there is little study on the effect of multimedia features in digital narratives on the engagement level of people. This research focuses on measuring the levels of engagement of people in digital narratives and specifically on understanding the media effect of digital narratives on people's engagement levels. Measurement tools are developed and validated through analyses of facial data from different age groups (children and young adults) in watching stories with different media features of digital narratives. Data sources used in this research include a questionnaire with Smileyometer scale and the observation of each participant's facial behaviours

'Breaking the glass': preserving social history in virtual environments

New media technologies play an important role in the evolution of our society. Traditional museums and heritage sites have evolved from the ‘cabinets of curiosity’ that focused mainly on the authority of the voice organising content, to the places that offer interactivity as a means to experience historical and cultural events of the past. They attempt to break down the division between visitors and historical artefacts, employing modern technologies that allow the audience to perceive a range of perspectives of the historical event. In this paper, we discuss virtual reconstruction and interactive storytelling techniques as a research methodology and educational and presentation practices for cultural heritage sites. We present the Narrating the Past project as a case study, in order to illustrate recent changes in the preservation of social history and guided tourist trails that aim to make the visitor’s experience more than just an architectural walk through

Gamification of sports media coverage: an infotainment approach to Olympics and Football World Cups

Sports media coverage of mega-events is partly oriented to gamification, the use of game elements and game design techniques in non-gaming contexts. This infotainment approach to events has been developed by media outlets as an original and effective way to capture wider audience attention and to place events in context before a competition starts. This article examines 28 gamified sports pieces developed by media outlets from seven countries during the last two Olympics (2016 Summer Olympics in Rio and 2018 Winter Olympics in Pyeongchang) and Football World Cups (2014 in Brazil and 2018 in Russia). This sample comprises two categories following Ferrer-Conill (2015): “gamified pieces” (game like elements that are part of a bigger interactive feature) and “newsgames” (more sophisticated pieces often included in complex graphics or multimedia content). The results show that, despite its entertaining formula, gamification serves mainly informational purposes and adds value to sports coverage. Especially in the Summer and Winter Olympics, gamified sports pieces tend to be explanatory and data-driven in order to inform the audience about nonmainstream sports

A dialectical approach to theoretical integration in developmental-contextual identity research

Future advances in identity research will depend on integration across major theoretical traditions. Developmental-contextualism has established essential criteria to guide this effort, including specifying the context of identity development, its timing over the life course, and its content. This article assesses four major traditions of identity research - identify status, eudaimonic identity, sociocultural theory, and narrative identity - in light of these criteria, and describes the contribution of each tradition to the broader enterprise of developmental-contextual research. This article proposes dialectical integration of the four traditions, for the purpose of generating new questions when the tensions and contradictions among theoretical traditions are acknowledged. We provide examples from existing literature of the kinds of research that could address these questions and consider ways of addressing the validity issues involved in developmental-contextual identity research

Reservoir hill and audiences for online interactive drama

This paper analyses the interactive experiences constructed for users of the New Zealand online interactive drama Reservoir Hill (2009, 2010), focusing both on the nature and levels of engagement which the series provided to users and the difficulties of audience research into this kind of media content. The series itself provided tightly prescribed forms of interactivity across multiple platforms, allowing forms of engagement that were greatly appreciated by its audience overall but actively explored only by a small proportion of users. The responses from members of the Reservoir Hill audience suggests that online users themselves are still learning the nature of, and constraints on, their engagements with various forms of online interactive media. This paper also engages with issue of how interactivity itself is defined, the difficulties of both connecting with audience members and securing timely access to online data, and the challenges of undertaking collaborative research with media producers in order to gain access to user data