3602QCA Action Research 1: Assessment Item 2
Part A: Research Idea Proposal
Research project idea/question
Choosing your own adventure:
Can using interactive media maintain the true essence of a story?
Contextual Relevance of research proposal (why is it important – what is its social value)
My purpose is to discover if the interactive narrative form is hindering the ability for viewers to remain passive in a culture where technological means allows higher access to adjusting a story’s plot which may threaten the author’s intentions or determine if it is an additional means to enhance an experience.
Although interactive media has considered to be present as early as owning and using stop, play, fast forward and rewind buttons on your VCR and beyond, today’s smartphones, tablets, gaming devices and internet provides more means and options for users to customise their viewing environment. While that may empower the user in providing a means to co-author, or co-construct, I question whether it is threatening the natural course of creative writing and film making. When more options on a story outcome is provided to viewers, one should wonder if it could possibly risk losing a more natural and genuine reaction than viewing a linear story in a passive state. I will endeavour to discover methods that prevent this from happening and pursue ideas that maintain the essence of the story and enhance the experience.
Contemporary practitioner exemplars (3-4)
For my research, I have found examples of practitioners that relate to varied fields in the genre, from a team who studied a new experimental approach to an interactive narrative, to two groups who have created interactive web documentaries, and one who has experienced an early interactive film attempt and critiqued from an audience/user perspective. These sources will help provide insight into newer structures that maintain a constant in the narrative, show how further engagement and immersion of information is achieved through current online applications, and how they have been received in the past based on a user experience when it is viewed at an experimental stage.
Evidence of preliminary theoretical investigation (3-4 examples)
My academic findings have highlighted the importance of the story line, examined the blurred relationship between author and audience, and analysed the link between personality traits and how they may influence choice in a non-linear narrative. Also included is the anticipation and predictions held by film executives regarding a pioneering interactive cinematic experience in the mid 1990s. These examples will provide a basis on how it was originally anticipated as an innovative experience, but with time provides an insight into challenges posed to the traditional story by the allowances of new technologies.
Considered methodological approaches
My purpose is to explore user reactions when presented with having and not having choices in their viewing, and to discover if interactivity further enhances their experience and absorption of information. Both quantitative and qualitative research will provide the best results, so I will consider studies using a likert scale, comparative, or descriptive research. All will be based on participants viewing either an interactive web-documentary or movie with an alternative ending, followed by a questionnaire or open discussion to observe, record, analyse and draw conclusions from.
Projected project scope
While I hope to gain a more refined idea of viewer preference and opinion of interactive media, the evidence I have collected indicates interactive media could possibly be regarded separately to the traditional practice of passive viewing, as external factors such as user personality and inclination, coupled with newer technologies can vary the degree of change in the medium and can increase potential for other fields of use already evident outside of the entertainment industry.
Part B: Academic and Practitioner sources
Academic Source 1
Piper, Christine. 2005. “This is the end… OR IS IT? WRITING THE END OF A SCREENPLAY.” Metro : Media & Education Magazine, 2005, 132-135.
Retrieved from http://search.proquest.com.libraryproxy.griffith.edu.au/docview/236423927?accountid=14543
This magazine article reinforces the importance of an ending through opinions of varied screenwriters and their disciplines, and compares traditional story construction against more innovative methods which empower the viewer to change the ending with given options. It also reveals how more modern and innovative methods are being used to provide alternative endings for viewers, and ponders the effectiveness of their experience with these new options.
Taking the varied opinions of accomplished screen writers and writers alike, Piper draws writing method comparisons between Stoneking’s natural subconscious approach against McKee’s more structured approach, which has been seen to “border on military didacticism” (Piper 2005, 134). While it seems neither would agree on the other’s methods, Piper discovered that both writers make similar references to their approach, and concludes that “Perhaps their approach to storytelling are not so different after all.” (Piper 2005, 134).
The article then moves on to illustrate how today’s digital technology has provided audiences with more options by featuring alternative endings in DVD packs, and online where multi-threaded narratives empower the user to alter the movie to suit their preferences. One example shows an entirely digital movie being produced at a media lab at MIT (Massachusetts Institute of Technology) which allows users to customise their settings from what genre and rating, to how much sex and violence they would like to see.
Further modern technologies have also allowed for television shows to feature on mobile phones, known as ‘mobisodes’, where the physical device itself can influence the way the show is shot due to the screen size, sound quality, and duration. In Australia, interactivity is taken a little further in viewing Us Mob, an indigenous story viewed online. The movie provides up to three alternative endings that satisfy the reality of each outcome for the audience, with additional material featured on the website that allows the user to explore, view and upload their own stories, further enriching their experience.
The significance of the ending is again reinforced when Stoneking states “Whatever the ending is, it has to be organically connected to the journey that the characters have made; it has to be credible” Stoneking (2005, 132). One could agree that no matter how traditional or alternative the approach to storytelling is, the ending must possess a credible, believable conclusion in order to reinforce an understanding of the story.
Academic Source 2
Zeiger, Dinah. 1995. “First interactive movie to debut: Audience to decide plot twists.” Denver Post, January 17, 1995.
Retrieved from http://search.proquest.com.libraryproxy.griffith.edu.au/docview/410465468?accountid=14543
Article describes an upcoming innovation in movie-making history in the mid1990s, where audience participation determines the movie’s plot and final outcome, and how it has built a generated interest in it’s success.
Using specially-equipped seating in thirty-seven theatres across the US, Mr. Payback: An Interactive Movie (1995) has earned its genre as a movie and a video game, where the plot itself is controlled by the audience (via voting devices attached to their armrests) at pre-determined points of the movie, moving away from the traditional sit-and-watch style of movie viewing to “an interactive experience. It’s designed to give viewers the option of directing the outcome of the picture.” (Neal, 1995).
Foreseeing its popularity to become “… the theme parks of the future…” (Franzblau, 1995), the movie/video game appeals primarily to a youth to young adult male demographic, further attracted by the story’s main character, a killer cyborg. The ongoing engagement requires social interaction which promotes a “group interactivity” as opposed to a single user interactivity experienced in single player vs computer scenarios, and resulting in a loud and boisterous atmosphere.
The movie – using four laser discs plus an audio disc and costing up to $50,000 per theatre fit out – gains further attraction via it’s writer/director, Bob Gale, (writer of the Back to the Future trilogy), and notable cast members that include Christopher Lloyd of Back to the Future fame and Billy Warlock from the Baywatch TV series.
The article further writes about the interest generated in the movie genre’s success by entertainment companies and theatre owners alike, who are closely monitoring to see if the new interactive genre will earn it’s position in future film making, holding on to optimistic plans and high budgets to create more interactive movies for cinemas in the future.
At the time of the article’s publish date, it can be concluded that this viewing model has it’s innovative merits but it remains uncertain as to it’s monitored success in the future.
Academic Source 3
Soto-Sanfiel, Mar, Laura Aymerich-Franch, and Estrella Romero. 2014. “Personality in Interaction: How the Big Five Relate to the Reception of Interactive narratives/Personalidad En Interacción: Como Los Cinco Grandes Se Relacionan Con La Recepción De Narrativas Interactivas.” Comunicación y Sociedad 27 (3): 151-186.
http://search.proquest.com.libraryproxy.griffith.edu.au/docview/1625907638?accountid=14543.
This study reveals how interactive narratives can produce varied responses based on the Big 5 of personality traits through an experiment that determines user’s personality traits and observes their reactions to varied outcomes from an interactive movie to reach the conclusion that personality traits influence their response to the interactive genre.
While the researchers consider the relationship between author and audience, they seek to refine the true definition of the term interactivity and its applications in the film and gaming environment. They do so by breaking down the meanings and characteristics of interactivity and its ability to enhance information and user engagement by explaining how it “produces greater excitement about consumption”, and “increases motivation for information processing” (Soto-Sanfiel, Aymerich-Franch, and Romero 2014). It also examines the characteristics of interactive narratives, and personality traits using trait theory, which “…assumes that individuals can be characterized in terms of relatively enduring patterns of thoughts, feelings and actions” (Soto-Sanfiel, Aymerich-Franch, and Romero 2014).
The researchers have then sought to determine if the user’s personality has influence on their reactions to emotional outcomes in the media by examining the trait theory, which covers the Big 5 of personality traits: “Extraversion, Agreeableness, Conscientiousness, Neuroticism and Openness to experience” (Soto-Sanfiel, Aymerich-Franch, and Romero 2014).
From here a method is formed and a study conducted, outlining the procedures and measures taken, followed by their results which generated quantitative data and analysis.
It was concluded that personality traits were definitely an influential factor in responses to using interactive media.
Academic Source 4
Cover, Rob. 2006. Audience inter/active: Interactive media, narrative control and reconceiving audience history. New Media & Society 8 (1): 139-58.
An article which examines the blurred relationship between author and audience in interactive media, both in the past and present and seeks further clarification and discussion to define and regulate the form in future applications.
Primarily the article looks at the definition of interactivity and researches the many theories associated with the genre and how it is referred to in historical aspects as early as theatre, by suggesting early depictions of interactivity could be deemed an interactive act: “To speak during a play is not merely to disrupt the audience and actors, but to disrupt the theatrical work as a finished work, put it into question, destabilize the finality and exact reproducibility of the play” (Cover, 2006).
The threat to author ownership was also addressed through Cover’s references to interviews conducted by Edward Downes and Sally McMillan regarding “the impact of computer-mediated interactive communication” (Cover, 2006). One particular statement made by a respondent reinforced the idea that interactivity “threatens whole industries, threatens whole professions” (Downes and McMillan, 2000: 164)*.
It also shows examples of author/audience control via high level audience participation in the Big Brother reality TV series, through to digitally storing text and data content into an Acrobat PDF with limited editable capabilities, through to internet content accessibility and the role played by computer and media conglomerates in maintaining content control of their products.
With the constant changing of today’s interactive digital environment, it is safe to assume the call for further discussion to determine or clarify the relationship between author and audience is required in order to help define ownership over co-creative media.
*additional quote from Downes and McMillan included in Rob Cover’s article referenced above. Please also find it’s own reference here:
Downes, Edward J. and Sally J. McMillan (2000) ‘Defining Interactivity: A Qualitative
Identification of Key Dimensions’, New Media & Society 2(2): 157–79.
Practitioner Source 1
Movie Reviews and Ratings by Film Critic Roger Ebert | Roger Ebert “Mr. Payback Movie Review & Film Summary (1995) | Roger Ebert” Accessed 10 March 2016. http://www.rogerebert.com/reviews/mr-payback-1995
Film review by highly-regarded film critic, Roger Ebert, describes his experience and opinion of the movie and video game release, “Mr. Payback: An Interactive Movie (1995)”. The first interactive film to feature in US cinemas.
Ebert states his open mindedness from a viewer’s perspective at the beginning, and expressed his understanding of the new narrative style, an “interfilm”, aware that he will be watching the movie twice in order to see two different storylines based on the audience vote. The experience results in publishing a rating of a half of one star (out of 4), evidence enough to assume the review would be quite a negative one, and the film’s unique experience deemed to be less than positive.
Along with the film review itself, Ebert also describes the technical details involved with this innovative experience by explaining the physical model of the cinema and specialised equipment, to the interactive concept which includes instructions on the voting console’s use. During the movie, he describes the options given at moments when asked to vote on an outcome. It is from this point his honesty – hinted with light sarcasm – was evident, stating the movie “… was so offensive and yokel-brained that being raised in a barn might almost be required of its audiences” (Ebert, 1995).
While unopposed to coarse language, Ebert believes this movie has gone above and beyond the necessary vulgarity, making comment of the overuse of what he can only describe as scatology by stating “…why did “Mr. Payback” need to be gratuitously offensive? Nonstop?” (Ebert, 1995). Even upon the second viewing, his opinion remained unchanged, stating “… most of the movie remains essentially the same every time, and that the ‘choices’ provide brief detours that loop back to the main storyline” (Ebert, 1995).
While Ebert compliments the technical side and does not oppose the viewpoint that “interfilms” may have a future, it can be concluded that the crassness of the storyline’s content has let down and influenced the overall atmosphere of what could possibly have been an otherwise positive and original experience.
Practitioner Source 2
Mendes, Jeremy, and Leanne Allison. 2012. Bear 71. Canada: National Film Board of Canada. Online documentary.
National Film Board/Office national du film [CA] “NFB/Interactive – Bear 71” Accessed 16 March 2016, http://bear71.nfb.ca/#/bear71
Bear 71 is an online interactive documentary created by filmmaker Leanne Allison, and artist Jeremy Mendes, featured on the National Film Board of Canada’s website, www.nfb.ca, a website that showcases films relating to a range of important issues to Canadians that involve social issues, including human rights and environmentalism, to name a few. It is an emotional account of a female grizzly bear’s life which features multiplatform, interactive media that contributes to the user’s overall experience.
One of many interactive films that feature on this website, Bear 71 is a collaboration that allows the user to adjust and enrich their experience around an archive of surveillance footage and photos collected from trail cameras located in the Banff National Park over the past 10 years. It is a 20-minute interactive documentary, which focuses on the relationship between nature and technology, and features elements of archival footage and data that play both automatically and manually, where the user’s interaction involves clicking on and rolling over active points located along a terrain map which covers the area of Banff National Park, located in Alberta, Canada. The user can explore the footage, view statistics, and follow the bear’s movements, or other tagged animals roaming about nearby, all the while listening to Bear 71’s story voiced by female actor, Mia Kirschner.
Although regarded as a documentary and not a traditional story in the sense of having a three-act structure, the user still experiences a linear format in narration, from the moment the bear introduces herself at the point she became known to humans (captured and tagged), and describes experiences from her monitored life from that moment on to ultimately her life’s end. The non-linear element lies in the movements of the user’s decisions on where to move his/her mouse or touchpad, and where they choose to click.
The overall experience keeps the user continuously engaged for the duration of the movie, as it involves a high-level of user participation, as the visuals and story will not proceed effectively if the user chooses not to explore the elements on the terrain map. As a result, the level of story enrichment relies on the level of user participation, giving interactivity a higher presence in today’s viewing experience.
Practitioner Source 3
Verdugo, Renato, Miguel Nussbaum, Pablo Corro, Pablo Nuñnez, and Paula Navarrete. 2011. “Interactive films and coconstruction.” ACM Transactions on Multimedia Computing, Communications, and Applications (TOMCCAP) 7 (4): 1-24.
Retrieved from http://dl.acm.org.libraryproxy.griffith.edu.au/citation.cfm?id=2043617
This study looks at a few forms of narrative, identifies the potential issues associated with them, and proposes a new form which is created and tested to discover if the newer, more simplified form maintains the benefits of the key storyline.
The traditional linear string of pearls structure, more associated with gaming is structured in a sequential series of events or worlds, where the branch narrative form provides viewers with options to change the plotlines of a story, with the outcomes growing rapidly in number as it progresses. Both presented challenges that the team wished to address, and as a result, an experiment was conducted where a hybrid structure of the two narratives was created, and termed detour narrative. This new model maintains a lineal backbone in the narrative structure where the introduction and parts of the body remain the same, but provides a number of diversions along the way, always returning to the backbone of the narrative structure. A short film, Fernando Moreno’s Crime or Revenge was created based on this structure and was viewed by a number of film students split into groups with different objectives to focus on while viewing, the results then analysed to prove how the interactivity was received both by usability, user feedback and opinion. Their findings proved potential in a media which showed flexibility to change with time.
As a result, the new narrative model proved its effectiveness of interactivity and stability by maintaining it’s ability to return the to backbone throughout the process.
Practitioner Source 4
ARTE in English | ARTE “Alma – A tale of violence” Accessed 18 April 2016. http://alma.arte.tv/en/
An online interactive documentary which features strong social and cultural issues associated with a violent upbringing in Guatemala, centered around a young woman and her association with one of the many violent gangs in Guatemala City. The documentary includes elements that allow further exploration into the story that reveal the surrounding influences of culture and history providing more context to the story.
Primarily centered around Alma, a 26 year old female who tells her story and means to survive by choosing to become part of one of the feared gangs in Guatemala City, the violent events she witnessed, became involved in, and committed herself, and the aftermath of her life upon leaving the gang.
Possessing a strong social and cultural awareness theme, which – mixed with the interactive media – lends itself to a higher engagement through user involvement. Viewers have the option to watch the entire film with undisturbed medium and close up shots of Alma, or they can choose to swipe up to reveal additional image content while the audio continues, and a simple downward gesture allowing the viewer to return to the interview visual. The graphic nature of the additional imagery, coupled with the modules providing information on the history and geography, gangs (maras), violence and prevention measures further adds impact to the experience.
This has proven to be quite an effective use of interactivity as the user can choose to further their knowledge by choosing to view the additional (and often graphic) content provided while the audio carries on in the background.