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Figure 4. Human figures in silhouette in Roxham 5. The Shared Story 5.1. Intersubjectivity and authorship this issue: migration crisis in each area is a facet of worldwide political conflicts that we

Figure 4 Human figures in silhouette in Roxham 5. The Shared Story 5.1. Intersubjectivity and authorship this issue: migration crisis in each area is a facet of worldwide political conflicts that we

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The type of images mentioned until now have been associated with the rear-facing
The type of images mentioned until now have been associated with the rear-facing
Figure 2 - Stills from Songbird (Adam Mason, 2020) Il. Locked Down (Doug Liman, 2021) In Locked Down there is an immense amount of video calls, which take place both for
Figure 2 - Stills from Songbird (Adam Mason, 2020) Il. Locked Down (Doug Liman, 2021) In Locked Down there is an immense amount of video calls, which take place both for
Figure 3 - Still from Locked Down (Doug Liman, 2021) Ill. Safer at Home (Will Wernick, 2021) understood as the characteristics of a tablet: it offers a certain degree of movement,
Figure 3 - Still from Locked Down (Doug Liman, 2021) Ill. Safer at Home (Will Wernick, 2021) understood as the characteristics of a tablet: it offers a certain degree of movement,
Figure 4 - Stills from Safer at Home (Will Wernick, 2021) IV. Host (Rob Savage, 2020) and Ctrl+Alt+Trick/Treat (Harvard John, 2020)
Figure 4 - Stills from Safer at Home (Will Wernick, 2021) IV. Host (Rob Savage, 2020) and Ctrl+Alt+Trick/Treat (Harvard John, 2020)
Figure 5: on the left, Host (Rob Savage, 2020), and on the right, Ctrl+Alt+Trick/Treat (Harvard John, 2020) 5. Conclusion Phone footage has been present in cinema before the COVID-19 pandemic started, confinement, which can be understood as a variation of the idea of phone footage as a
Figure 5: on the left, Host (Rob Savage, 2020), and on the right, Ctrl+Alt+Trick/Treat (Harvard John, 2020) 5. Conclusion Phone footage has been present in cinema before the COVID-19 pandemic started, confinement, which can be understood as a variation of the idea of phone footage as a
Figures 1 to 3 show the process of phytograms and images created. Adrian worked with
Figures 1 to 3 show the process of phytograms and images created. Adrian worked with
Figure 1. Phytogram process (Photo cou rtesy of authors)
Figure 1. Phytogram process (Photo cou rtesy of authors)
Figure 2. Phytogram (Photo courtesy of authors) Figure 3. Mammothogram (Photo courtesy of authors)
Figure 2. Phytogram (Photo courtesy of authors) Figure 3. Mammothogram (Photo courtesy of authors)
Figure 4. Everything | Touch | Change (Image courtesy of the authors) In developing these films, the Odeimin Runners Club worked against conventional forms
Figure 4. Everything | Touch | Change (Image courtesy of the authors) In developing these films, the Odeimin Runners Club worked against conventional forms
Figure 5. Odeimin Runners Club Story Map (Image courtesy of the authors) the land. Ebanks Schlums, Debbie et al. “Indigenous and Migrant Embodied Cartographies: Mapping Inter-relations of the Odeimin Runners Club,” Interactive Film and Media Journal v.2, n°.1 (Winter 2022): 48-61. https://doi.org/10.32920/ifmj.v2i1.1531 This article is released under a Creative Commons license (CC BY-NC-ND 4.0). oroad mapping method that weaves online interactivity with in-the-real engagement on
Figure 5. Odeimin Runners Club Story Map (Image courtesy of the authors) the land. Ebanks Schlums, Debbie et al. “Indigenous and Migrant Embodied Cartographies: Mapping Inter-relations of the Odeimin Runners Club,” Interactive Film and Media Journal v.2, n°.1 (Winter 2022): 48-61. https://doi.org/10.32920/ifmj.v2i1.1531 This article is released under a Creative Commons license (CC BY-NC-ND 4.0). oroad mapping method that weaves online interactivity with in-the-real engagement on
Figure.1 Calculagraphs in the first and last page in the Borderland Borderland consists of twelve short stories that include insights into the formation process of the border throughout history, what it feels like to be an undocumented immigrant,
Figure.1 Calculagraphs in the first and last page in the Borderland Borderland consists of twelve short stories that include insights into the formation process of the border throughout history, what it feels like to be an undocumented immigrant,
Figure 2. Profile photos in Borderland Roxham Road is approximately an eight-kilometer road between the US and Canada, a increased as many refugees in the US feared stricter immigration policies under Trump’s
Figure 2. Profile photos in Borderland Roxham Road is approximately an eight-kilometer road between the US and Canada, a increased as many refugees in the US feared stricter immigration policies under Trump’s
Figure 3. Snapshot of a user’s interface for a random part in Roxham The representation of those stories largely relies on using audio recordings and
Figure 3. Snapshot of a user’s interface for a random part in Roxham The representation of those stories largely relies on using audio recordings and
Fig. 1. Nightly Tarot Card reading. (Source: Frame from the film Insula) 2. The Making of the Film insula The cine-performance Insula (in post-production) is the result of a partnership with a
Fig. 1. Nightly Tarot Card reading. (Source: Frame from the film Insula) 2. The Making of the Film insula The cine-performance Insula (in post-production) is the result of a partnership with a
Fig. 2. Scenes from Ilha do Mel and the 3P Project. (Source: frames from Insula) While at the artist residency on Ilha do Mel, there was a meeting between the island's
Fig. 2. Scenes from Ilha do Mel and the 3P Project. (Source: frames from Insula) While at the artist residency on Ilha do Mel, there was a meeting between the island's
Fig. 3. Performing bodies through cinema. (Quadriptych frames from Insula) The meeting between residents and the engineer propelled the deleuzian notion of the
Fig. 3. Performing bodies through cinema. (Quadriptych frames from Insula) The meeting between residents and the engineer propelled the deleuzian notion of the
Fig. 4. Diving into a video-island. (Quadriptych frames from Insula) technology (mechanical and informational) and ideology (ideas and concepts). The performativity of such a power project is enhanced by a series of audio-visual
Fig. 4. Diving into a video-island. (Quadriptych frames from Insula) technology (mechanical and informational) and ideology (ideas and concepts). The performativity of such a power project is enhanced by a series of audio-visual
Fig. 5. Morphogenetic montage. (Quadriptych frames from /nsula) Framing the video-island in this media landscape of the port is equivalent to drawing
Fig. 5. Morphogenetic montage. (Quadriptych frames from /nsula) Framing the video-island in this media landscape of the port is equivalent to drawing
Fig. 6. Performing acollective body. (Quadriptych frames from Insula) Deleuze and Guattari characterize the assemblages that direct interactions with the
Fig. 6. Performing acollective body. (Quadriptych frames from Insula) Deleuze and Guattari characterize the assemblages that direct interactions with the
The lighthouse, for example, is constellated in all the lights that appear in the film: merges, cross-fades, dissolves in which a filmic layer merges with another. Steel, R. “Video-Island: Performing Environmental Imaginaries and Agency in Ilha do Mel,” Interactive Film and Media Journal v.2, n°.1 (Winter 2022): 76-91. https://doi.org/10.32920/ifmj.v2i1.1533 This article is released under a Creative Commons license (CC BY-NC-ND 4.0).
The lighthouse, for example, is constellated in all the lights that appear in the film: merges, cross-fades, dissolves in which a filmic layer merges with another. Steel, R. “Video-Island: Performing Environmental Imaginaries and Agency in Ilha do Mel,” Interactive Film and Media Journal v.2, n°.1 (Winter 2022): 76-91. https://doi.org/10.32920/ifmj.v2i1.1533 This article is released under a Creative Commons license (CC BY-NC-ND 4.0).
Fig. 8. Among goddesses. (Quadriptych frames from /nsula)
Fig. 8. Among goddesses. (Quadriptych frames from /nsula)
Fig. 1. Research sequence with mixed methods. the qualitative research. An essential element of the explorative qualitative approach was the use of two focus orocess-oriented research cycles. The quantitative surveys complete the evaluation of
Fig. 1. Research sequence with mixed methods. the qualitative research. An essential element of the explorative qualitative approach was the use of two focus orocess-oriented research cycles. The quantitative surveys complete the evaluation of
Figure 1 - Celtx Gem split screen view of Scapegoat script. However, the order of the branches is not easily altered. Celtx Gem also allows the story that shows the scenes, branches, and interactive dialogue, together with the writer to choose between a screen showing only the flowchart, only the script or a split
Figure 1 - Celtx Gem split screen view of Scapegoat script. However, the order of the branches is not easily altered. Celtx Gem also allows the story that shows the scenes, branches, and interactive dialogue, together with the writer to choose between a screen showing only the flowchart, only the script or a split
However, in order to read all the available options, the reader has to “playthrough” links, which also allows to check the flow and continuity more effectively (Figure 2).
However, in order to read all the available options, the reader has to “playthrough” links, which also allows to check the flow and continuity more effectively (Figure 2).
Figure 3 - Twine ‘Story Map’ of Scapegoat script. ink is described as a “narrative scripting language for games” (Inkle) with Inky - the
Figure 3 - Twine ‘Story Map’ of Scapegoat script. ink is described as a “narrative scripting language for games” (Inkle) with Inky - the
Celtx Gem is similar to Twine in terms of the presence of a flowchart with a scriptwriter
Celtx Gem is similar to Twine in terms of the presence of a flowchart with a scriptwriter
Table 1 - Analysis of participants’ answers to questionnaire. Responding to “How easy was it to understand the script format?,” 75% answered how to improve it, particularly for those unfamiliar with interactive films and Clarke, Ashton and Polina Zioga. “Scriptwriting for Interactive Crime Films: The Case of Scapegoat,” Interactive Film and Media Journal v.2, n°.1 (Winter 2022): 106-121. https://doi.org/10.32920/ifmj.v2i1.1524 This article is released under a Creative Commons license (CC BY-NC-ND 4.0).
Table 1 - Analysis of participants’ answers to questionnaire. Responding to “How easy was it to understand the script format?,” 75% answered how to improve it, particularly for those unfamiliar with interactive films and Clarke, Ashton and Polina Zioga. “Scriptwriting for Interactive Crime Films: The Case of Scapegoat,” Interactive Film and Media Journal v.2, n°.1 (Winter 2022): 106-121. https://doi.org/10.32920/ifmj.v2i1.1524 This article is released under a Creative Commons license (CC BY-NC-ND 4.0).
Figure 1. The Miss Starlight Pin Up contest from PUTM. Author. The traditional three-act story arc similarly was problematic. While it touched on issues of
Figure 1. The Miss Starlight Pin Up contest from PUTM. Author. The traditional three-act story arc similarly was problematic. While it touched on issues of
Figure 2. The boudoir from PUTMID. Author. www.pinupthemovie.com -o a scrolling history of the pin up. We opted to lean into the idea that we didn’t have to tell a linear story. A viewer wasn’t
Figure 2. The boudoir from PUTMID. Author. www.pinupthemovie.com -o a scrolling history of the pin up. We opted to lean into the idea that we didn’t have to tell a linear story. A viewer wasn’t
Figure 3. Horizontal v. vertical video of Miss Rockwell De Vil in PUTMID. Author.
Figure 3. Horizontal v. vertical video of Miss Rockwell De Vil in PUTMID. Author.
Figure 4. Instagram guest curation post by Miss Sweet Black. Author. https://www.instagram.com/pinupthemovie/
Figure 4. Instagram guest curation post by Miss Sweet Black. Author. https://www.instagram.com/pinupthemovie/
Figure 5. The final, messy, boudoir in PUTMID. Author. www.pinupthemovie.com the subculture featured in the project, as well as to audience members. Ryan, Kathleen M. “Pin Up! The Interactive Documentary: A Shared Authority,” Interacti\ Film and Media Journal v.2, n°.1 (Winter 2022): 122-135. https://doi.org/10.32920/ifmj.v2i1.1513 This article is released under a Creative Commons license (CC BY-NC-ND 4.0).
Figure 5. The final, messy, boudoir in PUTMID. Author. www.pinupthemovie.com the subculture featured in the project, as well as to audience members. Ryan, Kathleen M. “Pin Up! The Interactive Documentary: A Shared Authority,” Interacti\ Film and Media Journal v.2, n°.1 (Winter 2022): 122-135. https://doi.org/10.32920/ifmj.v2i1.1513 This article is released under a Creative Commons license (CC BY-NC-ND 4.0).
Though many of the millions of visitors experienced the ride simply as a visceral thrill, it colonizer, “discovering” the Arctic first-hand. Under the guise of amusement, this
Though many of the millions of visitors experienced the ride simply as a visceral thrill, it colonizer, “discovering” the Arctic first-hand. Under the guise of amusement, this
Related topics:
Interactive NarrativeInteractive and Digital MediaInteractive MediaInteractive ArtsInteractive Multimedia ApplicationsInteractive MultimediaDigital Media StudiesInteractive DocumentaryInteractive Film
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