La emergencia de lo transmedia y posliterario en la adaptación

In the context of the global market, the main role of platforms in current society provokes the unstoppable growing of a digital infrastructure characterized by users’ interactions in the net.  This participatory model has also directly involved the collaborative character within different art works in the adaptation processes, leaving behind a tradition of dichotomic struggle between original-novel and copy-film. Consequently, Hutcheon and Bortolotti rescue the Dawkins’ term of “replication” to explain the distinct media expressions which are produced repeating preexistent arguments in their narrative forms and how resulting transformations actualize or evolve (hi)stories. The transmedia phenomena define great franchises, streaming or VoD aesthetics, where audience emerges as direct mediator of the plot, from the purely post-literary medium, bringing together authorship and reception (see twitterature) to the fusion with cinema in its adaptations. The final goal is to illustrate the emergency of digital paradigm and the specific weight of media and performative turn.En el contexto del mercado global, el papel central de las plataformas en la sociedad actual conlleva el irrefrenable crecimiento de una infraestructura digital caracterizada por las interacciones de personas usuarias en la red. Este modelo participativo ha repercutido también directamente en el carácter colaborativo entre diferentes obras artísticas en los procesos de adaptación, dejando de lado una tradición de enfrentamiento dicotómico entre el original-novela y la copia-filme. Consecuentemente, Hutcheon y Bortolotti rescatan el término “replicación” de Dawkins para explicar las distintas expresiones mediáticas que se producen repitiendo argumentos preexistentes en sus formas narrativas y cómo las transformaciones resultantes actualizan o hacen evolucionar la(s) historia(s). El fenómeno transmedia define la estética de las grandes franquicias cinematográficas, el streaming o el VoD, donde la audiencia surge como mediadora directa de la trama, desde el medio puramente (pos)literario, aunando autoría y recepción (véase la tuiteratura), hasta la fusión con el cine en sus adaptaciones. El objetivo último es ilustrar la emergencia del paradigma digital y el peso específico del giro mediático y performativo

Mobile phone filmmaking as a participatory medium: The case study of 24 Frames 24 Hours

This research paper explores the recently evolving field of mobile filmmaking as a medium with a potential to increase participation of individuals and communities in their environment. Through the case study of the global mobile filmmaking project 24 Frames 24 Hours, the thesis answers two main questions: how can mobile filmmaking as a process (i.e. the process of creating short films) be used as a participatory and creative medium?, and how can visual products of mobile filmmaking and the way they are presented increase audience participation? The analysis was done through the local and global aspects of the production and distribution of mobile filmmaking, as well as by placing mobile filmmaking within the discourse of cinema history and new media. Due to its accessibility to anyone in terms of price and skills, mobile filmmaking increases one´s participation in his/her physical and social environment and can become an alternative to the mainstream media. In terms of audience participation, the research shows that mobile filmmaking as such does not offer anything so new if compared with examples from the cinema history. What is new about mobile filmmaking is the way it is presented, which in the case of 24 Frames 24 Hours is a database-like structure, allowing the viewer to create new collages and new narratives out of the uploaded videos. However, how much audience can interact with the content and participate in the community depends largely on the extent of the website´s interactivity, which is determined by the interface but also by the actual designer of the website

Towards the interactive filmic narrative—“Transparency”: An experimental approach

Nowadays, the cinematographic language claims for a specific type of interpretation and understanding. The emergence of the digital image and the innovative immersive reception devices provide new and diverse possibilities of reading and interacting within the filmic narrative. That is to say, cinema is constantly reinvented and explores potential renewals within the new interactive medias. This article reflects not only on the mutations of the filmic narrative, but also on its adaptation to interactivity. It proposes, also, new models of implementation, from traditional filmic narrative towards an interactive one. The experimental project Transparency illustrates it—it is a cinematographic project, which has the main goal of studying the interactive filmic narrative. An original plot has been created and adapted to an interactive narrative structure. The project is presented under the form of an installation allowing the spectators to choose the narrative sequences of the story

Narratives of ocular experience in interactive 360° environments

The purpose of this research project was to examine how immersive digital virtual technologies have the potential to expand the genre of interactive film into new forms of audience engagement and narrative production. Aside from addressing the limitations of interactive film, I have explored how interactive digital narratives can be reconfigured in the wake of immersive media. My contribution to knowledge stems from using a transdisciplinary synthesis of the interactive systems in film and digital media art, which is embodied in the research framework and theoretical focal point that I have titled Cynematics (chapter 2). Using a methodology that promotes iterative experimentation I developed a series of works that allowed me to practically explore the limitations of interactive film systems that involve non-haptic user interaction. This is evidenced in the following series of works: Virtual Embodiment, Narrative Maze, Eye Artefact Interactions and Routine Error - all of which are discussed in chapter 4 of this thesis. Each of these lab experiments collectively build towards the development of novel interactive 360° film practices. Funneling my research towards these underexplored processes I focused on virtual gaze interaction (chapters 4-6), aiming to define and historically contextualise this system of interaction, whilst critically engaging with it through my practice. It is here that gaze interaction is cemented as the key focus of this thesis. The potential of interactive 360° film is explored through the creation of three core pieces of practice, which are titled as follows: Systems of Seeing (chapter 5), Mimesis (chapter 6), Vanishing Point (chapter 7). Alongside the close readings in these chapters and the theoretical developments explored in each are the interaction designs included in the appendix of the thesis. These provide useful context for readers unable to experience these site-specific installations as virtual reality applications. After creating these systems, I established terms to theoretically unpack some of the processes occurring within them. These include Datascape Mediation (chapter 2), which frames agency as a complex entanglement built on the constantly evolving relationships between human and machine - and Live-Editing Practice (chapter 7), which aims to elucidate how the interactive 360° film practice designed for this research leads to new way of thinking about how we design, shoot and interact with 360° film. Reflecting on feedback from exhibiting Mimesis I decided to define and evaluate the key modes of virtual gaze interaction, which led to the development of a chapter and concept referred to as The Reticle Effect (chapter 6). This refers to how a visual overlay that is used to represent a user's line of sight not only shapes their experience of the work, but also dictates their perception of genre. To navigate this, I combined qualitative and quantitative analysis to explore user responses to four different types of gaze interaction. In preparing to collect this data I had to articulate these different types of interaction, which served to demarcate the difference between each of these types of gaze interaction. Stemming from this I used questionnaires, thematic analysis and data visualisation to explore the use and response to these systems. The results of this not only supports the idea of the reticle effect, but also gives insight into how these different types of virtual gaze interaction shape whether these works are viewed as games or as types of interactive film. The output of this allowed me to further expand on interactive 360° film as a genre of immersive media and move beyond the realm of interactive film into new technological discourses, which serves to validate the nascent, yet expansive reach of interactive 360° film as a form of practice. The thesis is concluded by framing this research within the wider discourse of posthuman theory as given that the technologies of immersive media perpetuate a state of extended human experience - how we interact and consider the theories that surround these mediums needs to be considered in the same way. The practice and theory developed throughout this thesis contribute to this discourse and allow for new ways of considering filmic language in the wake of interactive 360° film practice