The Interactive Potential of Emergent Narrative through Spatial Nesting of the Cinematic Experience
Bibliographic record
Abstract
Common application of the term ‘interactive’ within film and cinema tends to require the creation of hyper-narratives. However, this can have implications for the viewer’s emotional connection to and experience of the film (Shaul, 2008). Contemporary interactive films, such as Choose Love (2023), focus on the alternative flow or bifurcation of the plot, offering audiences alternative choices that impact on the protagonist’s journey or outcomes within the film. However, as this paper argues, film cannot be reduced to the plot, as the communication of story in film relies on visuals and sound that constitute the film’s simulation of reality: the world of the story. Furthermore, virtual reality (VR) blurs the line between immersive and interactive experiences, in the way it spatialises the audio-visual simulation of the film world. Indeed, the immersion of the viewer within the film world can create a feeling of interactivity via physical space, similar to immersive theatre such as Burnt City (2022), making the viewing experience participatory – even though the temporal flow of the narrative is not essentially altered. Therefore, interactivity in film does not have to mean audience or personal control over the plot but can instead be expanded to include the world of the story and the ways in which this world can be immersive, especially through the application of emerging technologies, such as VR and Internet of Things (IoT). This can give rise to viewer interaction through the embodied, spatial relationship to the fictional world and the narrative, rather than through making choices about the plot. Through this kind of spatialisation of the cinematic experience, the structure of the narrative is contingent on the viewer’s embodied choices within the space, which gives rise to a sense of emergent narrative (Walsh, 2011). This paper explores the above argument, rooting it in a theoretical framework based in narratology, semiotics, and phenomenology, especially the writings of Sobchack and Merleau-Ponty, and then considers its practical application in the recent multi-media installation and ongoing practice-as-research entitled Nested Cinema, led by Pavel Prokopic, in collaboration with Jayne Sayer. The aim of this research is to test the potential for emergent narrative through spatialising the cinematic form into an immersive experience, while orchestrating smart technology and devices across multiple nested layers of experience: the installation space and IoT flexible lighting, synchronised multi-screen projection, multi-channel audio, and VR. In this way, the installation offers a unique participatory experience, in which the installation visitor makes embodied choices toward the narrative by repeatedly transitioning between the nested layers of the experience – in the process complicating the boundary between their sense of primary reality and the experience of the simulated world of the story. Apart from employing practice-as-research methodologies, the research engages qualitative methods to account for the visitor experience via in-depth interviews. This paper presents the practical outcomes and findings of the research, and considers the wider potential and application of this work to future interactive modes of immersive home cinema technology.
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.001 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.001 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".