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Connecting interactive cinema to media ethics and global citizenship Interactive Cinema explores various cinematic practices that work to transform what is often seen as a primarily receptive activity into a participatory, multimedia experience. Surveying a multitude of unorthodox approaches throughout the history of motion pictures, Marina Hassapopoulou offers insight into a range of largely ephemeral and site-specific projects that consciously assimilate viewers into their production. Analyzing examples of early cinema, Hollywood B movies, museum and gallery installations, virtual-reality experiments, and experimental web-based works, Hassapopoulou travels across numerous platforms, highlighting a diverse array of strategies that attempt to unsettle the allegedly passive spectatorship of traditional cinema. Through an exploration of these radically inventive approaches to the medium, many of which emerged out of sociopolitical crises and periods of historical transition, she works to expand notions of interactivity by considering it in both technological and phenomenological terms. Deliberately revising and expanding Eurocentric scholarship to propose a much broader, transnational scope, the book emphasizes the ethical dimensions of interactive media and their links to larger considerations around community building, citizenship, and democracy. By combining cutting-edge theory with updated conventional film studies methodologies, Interactive Cinema presses at the conceptual limits of cinema and offers an essential road map to the rapidly evolving landscape of contemporary media.
List of contents
Contents
Introduction: Interactive Cinema, or The End of Radical Art?
1. Sense and Interactivity: Bodily Participation and Exclusionary Politics
2. Collapsing and Reconfiguring Borders through Interactivity
3. Automation and Non-/Beyond-Human Interactivity
4. Interactivity as Ethics: Deviant Paradigms of Identification in Procedural Spectatorship
Afterword, or Choose a Different Ending
Acknowledgments
Notes
Index
About the author
Marina Hassapopoulou is assistant professor of cinema studies at New York University’s Tisch School of the Arts.
