By Nitzan Ben Shaul
Hyper narrative interactive cinema refers back to the threat for clients or "interactors" to shift at assorted issues in an evolving movie narrative to different movie narrative trajectories. Such works have resulted up to now in interactor distraction instead of sustained engagement. opposite to post-modern textual and cognitive presumptions, movie immersion and laptop online game theories, this learn makes use of twin coding idea, cognitive load concept, and constructivist narrative movie idea to say that interactive hyper-narrative distraction effects from cognitive and behavioral multi-tasking, which result in break up awareness difficulties that can not be cognitively dealt with. concentration is upon cut up awareness as a result of 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 must be controlled, and - most significantly - made to reinforce instead of decrease engagement. This e-book outlines a few doable recommendations 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 (Consciousness, Literature and the Arts, Volume 18)
V. 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.
This active narrative helpfulness, which supports the cognitive constructivist approach, is evidenced in the interactors’ report that the inconsistency of set and even of characters, once their behavior could be feasibly explained away, did not divert them away from their engagement. This suggests that while a film viewer’s cognitive activity needs strict causal clues to construe the film narrative in her mind, adding 54 Chapter 2: Interaction behavioral interaction enhances the interactor’s willingness to support the narrative construction by expanding the repertoire of schemes he is willing to attribute to character or environmental behavior, so long as the inner logic and dramatic succession are maintained.
Brannigan, Narrative Comprehension, p. xii. Carroll, Mystifying Movies, pp. 138–147. ). ’ by showing up-close the sheriff’s beloved wife holding a smoking gun, followed by a zoom–out re-scaling to reveal her standing on a rooftop overlooking the scene. On cognitive constructivism see in particular Jerome Bruner, ‘On Perceptual Readiness’, Psychological Review 64 (1957), pp. 123–152. Bordwell, Narration in the Fiction Film, p. 31. Ibid, pp. 29–47. Witness for example Robert Altman’s film Short Cuts (USA, 1993), which consists of several coincidentally interlacing narrative trajectories that nevertheless cohere within and in-between themselves.