The Experiences of the Audience by Use of Technology - Dissertation Example

? The future of entertainment: How can interactive film challenge conventional film in the interactive media age? Entertainment industry is currently embracing new technology of interactive films, new media and interactive narratives where the audience is changing from passive readers, listeners and viewers to active participants (Daly, 2010, P. 81). The active role of the audience has been facilitated by development of information and communication technology such as advanced computers that can process and display large amount of information simultaneously (Gansing, 2003, P. 39). The major purpose of interactive media is to entertainment the audience (Ryan 2005, P.1). Interactive film offers entertainment to the audience in addition to an opportunity to practice their artistic skills. On the other hand conventional film offers entertainment to the audience but their participation in the development of the storyline is limited. Previous studies show that interactive films offer a fascination experience to the audience compared to conventional films. The dissertation involves a study on the future of entrainment. The study will involve review of the relevant academic materials relating to interactive film. The literature review involves analysis of interactive and conventional films, narrative theories, levels of interactivity and audience immersion. The study will also analyze three films as case studies of conventional and interactive films in relation to interactivity, audience participation, narrative style and audience immersive experience. The study will seek to understand why interactive films are preferred over conventional films in the interactive media age. Table of Contents ABSTRACT 2 Table of Contents 3 CHAPTER ONE: 1.0 INTRODUCTION 4 1.1 Introduction 4 1.2 Definitions 5 1.3 Research Problem 7 1.4 Significance of the Study 7 1.5 Research Questions 7 1.6 Research Hypothesis 8 1.7 Methodology 8 1.8 Limitations 8 1.9 Structure of the Thesis 9 CHAPTER TWO: 2.0 LITERATURE REVIEW 9 2.1 Introduction 9 2.2 Conventional films 11 2.3 Narrative theories 11 2.4 Interactivity and films 14 2.5 Viewer’s immersion 15 CHAPTER THREE: 3.0 ANALYSIS OF CASE STUDIES 17 3.1Timecode (2000) 17 3.2 Eavesdrop (2004) 19 3.3 13th Street Last Call (2010) 20 CHAPTER FOUR: 4.0 FINDINGS AND DISCUSSION 22 CHAPTER FIVE: 5.0 CONCLUSION 24 REFERENCES 25 List of figures 28 CHAPTER ONE: 1.0 INTRODUCTION 1.1 Introduction In the current technology and media age, the role of the audience is bound to change from passive to active audiences. These changes are as a result of development of new concepts in media such as interactive films, interactive videos, interactive newspapers, interactive websites, interactive televisions as well as interactive houses (Gansing, 2003, P. 39). Interactive films and entertainment in general allows the participation of the audience due to availability of technology. According to Ryan (2005, P.1), interactive narratives are emerging as a result of availability of internet and technology. Examples of interactive entertainment include interactive TV programs, computer games, interactive cinemas and movies, toys , interactive cartoons, reality gaming, interactive fictions, digital autobiographies, news, interactive emerging stories, documentaries among others. Previously, films were passive and in linear dimension but development of technology have opened up films to audience participation. The development and increased use of interactive film has posed a great challenge on conventional film since the former allows participation of the audience thus enhancing their experience compared to the later. Although conventional films offer aesthetic value to the audience they limit the participation of the audience. Interactive films offer entertainment to its audience and also enhance its artistic value (Nakatsu, Tosa and Ochi, n.d. , P.1). Interactive films have been enhanced by development and use of information and communication technology. Conventional films offer prearranged pictures and story in a linear dimension thus the audiences do not participate in the development of the story. On the other hand, in interactive movies the storyline can develop in diverse way depending on the audience. 1.2 Definitions Film is the skills, practices and an industry involved in making movies and photographs. Film can also be referred to materials used in photography (merriam-webster.com, n.d., P.1). Films are important aspect of communication since the stories and the scenes are developed from wide range of situations both real and unreal. The experience when watching a movie takes us to a journey we might never experience or know. The film therefore is a transformation of an idea, feeling, experience or texture into visual image and sounds. Interactive media is a new technology that brings together different technology, movies, games and telecommunication. The audiences are entertained and also participate in the development of the storyline by contributing to the storyline and interacting with the characters in a movie or a story (Nakatsu, Tosa and Ochi, n.d. , P.2). It involves interaction over the story timeline using technology. The story may take a different approach depending on the responses from the audience, the audience becomes a major character in the interactive film as the real story characters interact with the audience. This ensures that the story generates a real situation that is perceived by the audiences (Nakatsu, Tosa and Ochi, n.d. , P.3). Interactive Narrative is an audio, visual or written document that uses technology that involves the audience (Ryan 2005). The events in the document are produced by the involved characters Interactive narratives are everywhere and may include but not limited to interactive TV programs, computer games, interactive cinemas and movies, toys , interactive cartoons, reality gaming, interactive fictions, digital autobiographies, news, interactive emerging stories, documentaries among others (Ryan, 2005, P.1). Interactive Film is associated to interactive narratives that allow the participation of the audience in the digital media. Its development is based on conventional film but it allows the audience to participate in story development. In interactive filming the audiences are not inactive viewers and listeners but active participants (Verdugo at el, n.d. , P.1). Interactive films combine both the conventional films and interactive media (Johnson, 2008, P. 1).   1.3 Research Problem For a long period of time movies and films audience have been passive viewers. Advancement in information and communication technology has led to development of interactive films that allows the participation of audiences in the development of the storyboard and scenes as main characters. Conventional films do not allow the participation of the audience while interactive films incorporate the audience in the development of the storyboard. Conventional films offer aesthetic value and entertainment to its audience while interactive film offers entertainment and aesthetic value in addition to exploring their artistic abilities of their audience (Verdugo at el, n.d., P. 2). Development of interactive film offers challenges to conventional film in the current in the interactive media age where the participant of audience may influence how the storyboard develops. 1.4 Significance of the Study It is important to understand both conventional and interactive films and the experience they both offer to their audience. This study seeks to analyze the advantages of interactive film over conventional films in the interactive media age. The study also seeks to understand the challenges facing interactive films. 1.5 Research Questions i. Are interactive films superior to conventional films? ii. What are the advantages of interactive films over conventional films? iii. What are the disadvantages of interactive films over conventional films? iv. How can interactive film challenge conventional films in the interactive media age? 1.6 Research Hypothesis The research hypothesis is whether interactive films can overcome challenges facing conventional film in the interactive media age. 1.7 Methodology The study will review secondary data from the previous studies as well as existing literature of interactive film and conventional film in relation to interactive media age. The data that will be reviewed include journals, magazines, periodicals, films, interactive projects gatherings, academic articles among others that are related to interactive media. To ensure that sufficient information is used in this study, information from Google search engine and online libraries such as Ebscohost will also be used. To ensure consistency in the study the search words and titles related to interactive and conventional film will be used. The study will identify the benefits of interactive film over conventional films. Three case studies will be analyzed in relation to this study. The case studies include Timecode (2000), Eavesdrop (2004), 13th Street Last Call (2010) and Eavesdrop (2004). The result and information from the broad literature reviews will be analyzed to answer the main research question “How can interactive film challenge conventional film in the interactive media age? 1.8 Limitations The study conducted in a short period of time. To fully understand the development of interactive films and their contribution to audience experience, there is need to analysis several films. Interactive media is a wide topic that requires time and resources to analyze. 1.9 Structure of the Thesis The study is organized into five chapters. Each chapter acts as a basis for the next chapter to maintain the flow of the study in order to answer the research questions. Chapter one is the introductory chapter that provides introduction to the study on interactive and conventional film in the interactive media age. The chapter provides definition for the various terms related to this study. The chapter also has research questions, hypothesis, research problem, methodology and limitations to the study. Chapter two is the literature review. It provides the literature review that relates to interactive film. It provides brief discussion on conventional films, interactive films, narrative theories and levels of interactivity. Chapter three provides analyses of their case studies on three different films in relation to interactivity, audience participation, narrative style and audience immersive experience. Chapter four provides findings and analysis of the study while the final chapter has the conclusion. CHAPTER TWO: 2.0 LITERATURE REVIEW 2.1 Introduction Several studies have been conducted on interactive media, interactive games, interactive film and interactive video. All interactive entertainment Medias and narratives allows the audience to participate in the development of the story. They are narratives tools that are either designed for a specific target group or to general audiences in a theater where people watch as a group. Traditionally, audiences in films and cinemas were passive viewers advancement in technology has changed passive audience into main characters in theaters. The cinemas and movies were silent. Storyline in a film was based on the ideas of the directors and actors and passed on to audience without considering their feedback. Interactive film has embraced technologies that integrate the conventional films and moves and their audience (http://www.moviemaker.com/magazine/issues/44/cinevation.html , n.d, P.1). In interactive film, the linear dimension of movies is diverted to different possible direction where the audiences are to make an important decision (Erkarslan, n.d., P.2). For example in the movie Dungeons and dragons the audiences the audiences are to select the options that would lead to the set objectives. Therefore interactive films have a mixture narrative style that linear dimension and non linear dimension. The storyline, gesticulation of the character and the movies are interpreted by the active audience. The audience can replay the scenes to fully understand the film. However the audience must be willing to concentrate and pay attention to the film. The major challenge of interactive film compared to conventional film is to maintain the attention and participation all the audiences especially if several audiences are involved (Johnson, 2008, P. 10). However to allow audience participation in the movie, it involves complex hardware and software (Verdugo at el, n.d, P.4) and this may limit the participation of the audience. Since the participation may involve several users, the story line is complex and may change from time to time (Verdugo at el, n.d, P.4). Interactive film has a hyperlink that facilitates interaction. Conventional films are linear while interactive films are non linear (http://www.moviemaker.com/magazine/issues/44/cinevation.html, n.d. , P.1). They also depend on complex hardware and software solutions such as touch surfaces. Narratives should have a series of activities that are easily understood by the audience. The audience must understand the relationship between characters, sequence of activities and dialogue as well as the relations in between the shots. Since interactive narratives are more complex that conventional films, audiences can lose track of the movie in relation to time, space and different scenes. Therefore a film should have dialogues and scenes that reveal the chronological order. When developing the storyboard in an interactive film, interactivity is integrated to the storyboard (Johnson, 2008, P. 11). The level of interactivity should not affect the level of immerse experience of the audiences. The basic essentials of interactive films is immersive experience of the audience, interactivity and interactive storyboards. 2.2 Conventional films Conventional films are linear and do not allow the participation of the audiences in the development of the storyline. Despite limiting the participation of the audience they offered entertainment and aesthetic value to the audience (Nakatsu, Tosa and Ochi, n.d. , P.1). In the conventional movies the storyboard and the scenes are predetermined. The directors are able to identify the beginning and the ending of the storyboard in advance (Figueirado, 2003, P. 10). 2.3 Narrative theories Narratives and plot theory was developed by Aristotle to identify structures as well as component of poem. He identified six major components namely language, thought, action, character, patterns well as spectacle. Plot and sequence of activities are the two major components. The components are related to each other but the theory lacked interactivity (Louchart and Aylett, 2004, P. 508). This theory was later integrated with interactivity to form neo-Aristotelian theory as shown in the figure 1 below Figure 1: neo-Aristotelian theory: source: Louchart and Aylett, 2004, P. 509. According to Figueirado (2003, P. 10), Conventional narratives have two major components that are the storyboard which is a sequence of events occurring in the story. The plot is the second component of the conventional narratives which is the way the storyboard is presented to the audience, readers and viewers. The plot should have the start, middle and the end. The start is followed by sequence of the events that leads to the end. The similar path followed by conventional narratives is referred to as dramatic or Aristotelian arc (Figueirado, 2003, P. 10). The surroundings of the storyboard is discovered from the start of the story followed by series of events that develop the story as the tension and the emotion rises, the unfolding events give rise to unresolved questions until the critical state. From this stage the critical questions relating to the storyline are resolved and answered. The tension is relieved and the narrative returns to the normal state at the final stage of the narrative. The figure 2 below shows the events of the narrative over time. Figure 2. Aristotelian Arc Source: Figueirado, 2003, P. 10 Aristotelian arc is the basis for unified plot known as Freytag’s Triangle (Figueirado, 2003, P. 11). Freytag’s Triangle has several storylines in a single film and does not take a linear dimension. The audience is an active participant as compared to Aristotelian arc where the audience is passive participant. The figure 3 below shows the Freytag’s Triangle The figure 3: Freytag’s Triangle. Source: Figueirado, 2003, P. 10 According to Johnson (2008, P. 12), a film has four categories that is time, sequence, scenes as well as shot. Time is the period of the movie. During this time which is the duration of the movie there are several sequences. Every sequence has several scenes. A scene has several shots. The relation between the shot is created over time and space. Editing ensures smooth flow of shots over time and space to in a plot create a movie. 2.4 Interactivity and films In the interactive media age, there is countless development that has allowed the audience to participate in the development of storyboard through interaction (Figueirado, 2003, P. 11). According to Figueirado (2003, P. 10), interactivity is a communication cycle that relates to creativity, choice, productivity and control by the user on a product. Over the last few decades the art of communication and entertainment has undergone changes as a result of growth and development of information and communication technology (Schwana and Riemppb, 2004, P. 293). The development of technology has facilitated the interaction between the characters, technology, feedback from the audience and development of the story. Interactive films have two aspects that are the technology and active role of the audience. The audience listen, interprets and participate by giving feedback. There are four levels of interactivity as described by Johnson (2008, P. 29). The levels of interactivity are interpretive, utilitarian, explicit as well as cultural. Interpretive interactivity occurs when the audiences establishes the relationship between the scenes in the film. Different scenes may be occurring at the same time. In utilitarian interactivity, the audiences play a participatory role in a linear film. The audience can stop a scene, select different scenes to watch thus being able to view the movie in different orders. Explicit interactivity occurs in interactive films and the audience influences the direction of the film. The cultural interactivity allows the audience to interact with characters in the films. Ryan (2005, P. 1) also indicated that interactive storyboard are improvement of linear and conventional films. The interactive films are conventional films with different storylines and allow the participation of the audiences. Ryan (2005, P. 1), described four levels of interactivity in an interactive storyboard that places interactive films over conventional films. The first level of interactivity is the peripheral interactivity that allows the audiences to arrange different events in the film but does not influence the storyline. In the second level of interactivity the audiences affect the storyline. The audience can customize the storyline and interact more with the characters. However the interactivity is limited as they cannot fully control the storyline. In the third level of interaction, the audience can partially control the pre determined storyline. The audience is part of the characters of the pre determined storyline. The fourth level of interactivity allows real time generation of the storyline. The audience has full control of the storyline since it is not pre determined. They are the virtual characters thus the films represent the real scenarios that the audiences can associate with. The level of interaction offer the immerse experience to the audience. 2.5 Viewer’s immersion Films and movies create a virtual environment in which the audiences integrate with the characters in the storyline. Development and use of technology enhance such situations (Licata, 2009, P. 1). Immersions of the audiences refer to the ability of the participants to love the film and pays attentions to its development. The audience loves the narratives as well as its strategy (Mc Mahan, 2003, P. 60). Studies show that immersion of the viewers is enhanced by visual, audio and technology used in the virtual environment. Proper integration of technology, storyline and character create a sense of reality in a virtual environment (Mc Mahan, 2003, P. 62). However immersion also varies from one person to another depending on their level of concentration on the developing storyline. The Advantages of Interactive films over the conventional films is that interactive films offers enhanced immersed experience, entertainments the audience and allows the audience to use their artistic skills (Nakatsu, Tosa and Ochi, n.d. , P.1). It allows development of the storyline in relation to the feedback from the audience. Use of technology facilitates the participation of the audience. It also helps the audience to use their artistic skills (Schwana and Riemppb, 2004, P. 293). Interactive media has also changed business environment due to their use in marketing and sales promotion (Jambon, n.d., P. 3). CHAPTER THREE: 3.0 ANALYSIS OF CASE STUDIES This chapter contains the analysis of three films including Timecode (2000), Eavesdrop (2004) and 13th Street Last Call (2010). 3.1Timecode (2000) Timecode is a movie that combines four storyline into a single plot. It is a non linear conventional film. It was directed by Mike Figgs. Their use of technology is shown by real time running of four screens each with different storyline. The move was played out in single screen that was divided into four quadrants in real time without any editing (BFI film, n.d., P.1). The sound in each of the story fade and this allows the audience to focus on the interesting story (zeitgeist, 2012, P.1). Below is a snapshot of the Timecode 2000 as shown in figure four. Figurer 4: Snapshot of the Timecode 2000. Source: Mohamad, 2012, P.1. Timecode is a fascinating film that draws the attention of the audience due to use of technology (zeitgeist, 2012, P.1). The participation of the audience is allowed but limited since the four quadrants are running simultaneously and thus the audience focus on understanding the narratives. In case the audience is bored by one storyline he or she can shift to another screen thus influence the experience. The narrative style used is multi narrative. The storylines are interrelated and the main characters in the four different quadrants are seen in other quadrants relating to each other. In some cases some quadrants are minimized to ensure the viewers focuses on a specific quadrant (Ebert 2000, P. 1). Timecode cannot be classified as a conventional film since it has different storylines that are interrelated. It limits the participation of the audience due to multiple screens. Some emerging questions as the story developed were not fully answered at the end of the movie. 3.2 Eavesdrop (2004) Eavesdrop is a 360 degree interactive film that offers immersive experiences to the audience that is based on the stories of ten people who present their act in nine minutes alternatively . all the shots are joined to create a continuous story. The storyline is about moral, ethical, religious, psychological and religious characteristics. The stories are interrelated (Shaw and Pledger, 2004, P.1). All the characters are in certain issue. A young celebrity has issues with conscience, a youth try to run way from the suburb, an aged couple try to kill themselves, a politician wishes for a revolution, two boys have neglected themselves, a woman undergoes a plastic surgery to improve herself esteem while a man is saddened by unreciprocated love (Shaw and Pledger, 2004, P.1). The storyline are repeated to attract the attention of the audience. The audience can interact with the storyline and modify the scenes by being able to select different scenes thus changing the experience among different viewers. The storyline are related in their theme and interconnected over time and space. The band, dance and waiter provide a unifying character in the narratives. Since the film is interactive it provides audience with immersed experience. There is interrelation between the storylines. The film allows the participation of the audience in the development of the story line. The interaction between the characters is a metaphor Figure 5: Screen shot of Eavesdrop. Source: http://weixuanzhaosss.files.wordpress.com/2010/09/e59bbee78987-81.png 3.3 13th Street Last Call (2010) 13th Street Last Call (2010) is an interactive movie that was released in 2010 (Macleod, 2010, P. 1). It is an action movie that allows the participation of the audience through making a call. The audience can interact with the main characters in the film. The audiences are invited to send in their contacts. When the main female character picks her phone to make a call, one of the submitted numbers is called and the character speaks to the viewer. The viewer is to help the character escape. The answers from the audience are converted into scenes that play in the movie. The figure 6 below shows such scenario. The figure 6: 13th Street Last Call (2010: Source: Macleod, 2010, P. 1: The storyline and scenes are pre determined but the involvement of the audience can produce diverse ending of the storyline. The audience participation creates flexibility in the movie. The audiences have an immersive experience that allows them to participate in the development of the storyline. It’s a fascinating feeling for the viewers to be called by the virtual character to give them direction (Macleod, 2010, P. 1). CHAPTER FOUR: 4.0 FINDINGS AND DISCUSSION The findings in this study are based on the literature review in chapter two and case studies in chapter three. The findings are two help answer the research question: How can interactive film challenge conventional film in the interactive media age? In the interactive media age the audiences are changed from passive to active audience and viewers. They ensure that the audiences participate in the development of the storyline. In some cases the storyline in the interactive and non linear media are predetermined but are flexible to ensure that the audience participation is integrated. The participation of the audience is facilitated by use of modern technology such as internet as well as powerful computer systems. The levels of the audience interactivity differ from one film to another as well as among the audience. Interactive films enhance the experience of the audience, improve entertainment and allow the audience to utilize their artistic skills. A perfect example of such films is13th Street Last Call (2010) that allows the audience to guide the main character. Though the storyline and scenes are predetermines the responses from the audience determines the next scene. Conventional films are supported by technology. The development of the story varies with the audience but the main limitation is time since integration and interactivity occurs in relation to time. The interactivity can also be limited by technology if the audiences are not familiar with new technology. A movie such as Eavesdrop may lower the level of concentration of the audience since the sound and the scenes are controlled by the director. A viewer may opt to concentrate on a specific quadrants but the director may opt to downsize it and reduce its volume. Interactive films offer immersed experience to the audience. The audiences are able to interact with the virtual characters as well as the film director. The real environment is integrated with the virtual environment. The main challenge of the interactive films is the integration of different responses from different audience into the main storyline which in most cases is predetermined at the beginning of the movie. This is more complicate if the film is designed for theaters where there are large numbers of audiences watching the film at the same time. Interactive films are a complex concept since it involves several audiences who might have different opinions. In most cases the audiences are given few options to choose from and thus their participation is limited (Ebert, 1994, P.1). This is so because a film has a story and a plot and each diversion eliminates all other storyline. Interactive film enhances the experiences of the audience. The audiences are able to interact with the storyline and main characters in the duration of the film using technology. In the current interactive media age, interactive films are considered better than conventional films. CHAPTER FIVE: 5.0 CONCLUSION Interactive film enhances the experiences of the audience by use of technology such as internet, mobile phones and computer systems. In the interactive narratives the audiences are not passive listeners, readers and viewers to active participants who contribute to the development of the story line. Interactive media ranges from interactive films, interactive games, interactive videos, interactive newspapers, interactive websites, interactive televisions as well as interactive houses (Gansing, 2003, P. 39). In the current interactive media age, interactive films are considered better than conventional films in terms of interactivity, audience participation, narrative style and audience immersive experience. In conventional films offers entertainment and aesthetic values to the audience. They have a linear dimension where the storyline is pre determined. The start, climax or middle and the end are known by the director from the initial stages. However the limit the participation of the audiences as well as immersed experiences compared to interactive films. Most people in the technology and interactive media prefer interactive film over conventional films. Development of interactive film is traced to conventional films and there the contribution of conventional films to the film industry cannot be underestimated. There is need for further studies to analyze conventional films and their effects on the growth of the film industry. There are amazing linear films that still provide sufficient immersion experience and therefore need for study to improve them while still retaining their aesthetic value. REFERENCES BFI film (n.d.). “Film of the month: timecode.” Accessed 28th December 2013: http://old.bfi.org.uk/sightandsound/review/560 Schwana S. and Riemppb R. (2004). “The cognitive benefits of interactive videos: learning to tie nautical knots.” Learning and Instruction 14 (2004) 293–305. Elsevier Ltd Daly, K 2010, 'Cinema 3.0: The Interactive-Image', Cinema Journal, 50, 1, pp. 81-98, Academic Search Premier, EBSCOhost, viewed 27 December 2013 Ebert R. (1994). “Dim future for interactive film.” Roger Ebert Journal. Accessed 06th Jan 2014: http://www.rogerebert.com/rogers-journal/dim-future-for-interactive-film  Ebert R. (2000). “Reviews: timecode 2000.” Accessed 29th December 2013: http://www.rogerebert.com/reviews/time-code-2000 Erkarslan O. (n.d.). “A new gaze of interactive cinema experience: Immersion cinema.” Izmir Institute of Technology. Figueirado R.(2003). “Development and Evaluation of Guidelines for Producing an Interactive Movie.” Submitted in partial fulfillment of the requirements of Napier University for the degree of Masters of Science in Multimedia and Interactive Systems Gansing K. (2003). “The Myth of Interactivity or the Interactive Myth?: Interactive Film as an Imaginary Genre.” MelbourneDAC2003 Jambon T. (n.d.). “How Interactive Media is Changing Film Marketing. “ Elon University Johnson K. (2008). “Lost cause: an interactive movie project.” Thesis submitted in partial fulfillment of the requirements for the degree of Simon Fraser University. Licata D. J. 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(2012). “MDA2900 - Producing and directing: film form and practice.: Patrick Philips discusses Timecode (2000) by Mike Figgis.” Accessed 30th December 2013:http://yousifmohamadpartdeux.wordpress.com/2012/11/30/not-completed-patrick-philips-discusses-time-code-2000-by-mike-figgis/ Nakatsu R., Tosa N. and Ochi T. (n.d.). “Interactive Movie System with Multi-person Participation and Anytime Interaction Capabilities.” Accessed 23th December 2013 http://www.tosa.media.kyoto-u.ac.jp/en/works2/im/im_thesis1/thesis.html Ryan, M-L. (2005). “Peeling the Onion: Layers of Interactivity in Digital Narrative Texts.” Accessed 28th December 2013: users.frii.com/mlryan/onion.htm Shaw J. nd Pledger D. (2004). “Eavesdrop: Project Overview.” Accessed 28th December 2013: http://www.icinema.unsw.edu.au/projects/eavesdrop/ Verdugo R., Nussbaum M., Corro P., Nunez P. And Navarrete P.(n.d.). “Interactive Films and Co-Construction .” http://www.moviemaker.com/magazine/issues/44/cinevation.html, n.d. http://weixuanzhaosss.files.wordpress.com/2010/09/e59bbee78987-81.png  zeitgeist C. (2012). “Digital filmmaking: Case studies Of Timecode (Figgis, 2000) And The Gleaners And I (Varda, 2002).” Accessed 28th December 2013: http://culturalzeitgeist.wordpress.com/2012/11/04/digital-filmmaking-case-studies-of-timecode-figgis-2000-and-the-gleaners-and-i-varda-2002/ List of figures Figure 1: Neo-Aristotelian theory Figure 2. Aristotelian Arc Figure 3: Freytag’s Triangle Figurer 4: Snapshot of the Timecode 2000. Figure 5: Screen shot of Eavesdrop Read More