U początków historii filmu interaktywnego (Jeffrey Shaw – Luc Courchesne – Grahame Weinbren)

• Authors: Kluszczyński Ryszard W.

Title variants

EN

The history of interactive movies (Jeffrey Shaw – Luc Courchesne – Grahame Weinbren)

Abstracts

EN

Interactive movies are a result of a dialogue between expanded cinema and the art of new media. First examples of this phenomenon were interactive film installations. Jeffrey Shaw, Luc Courchesne and Grahame Weinbren are among the precursors of this trend. Their works are fundamental to the history of interactive movies. Creations of the first two artists were of a visual and immersive character and their artistic projects resulted in creating the idea of interactive participants in film events and the concept of ‘panoramic dispositive’ as a sphere of interactive film experiences. Weinbren created a model of interactive film narration that was available in installation mode. The artists’ interactive film installations are both a continuation of previous artistic activities in the field of cinema as well as a transgression leading

Keywords

EN

interactive movie; immersion; virtuality; multimedia; dispositive; expanded cinema; new media art; installation art; interactive narration

• Publisher: Wydawnictwo Uniwersytetu Śląskiego
• Journal: Postscriptum Polonistyczne
• Year: 2014
• Issue: 2(14)
• Pages: 251-259

Contributors

author

Kluszczyński Ryszard W.

• Katedra Mediów i Kultury Audiowizualnej, Uniwersytet Łódzki, Łódź, Polska; Akademia Sztuk Pięknych w Łodzi, Polska

References

• Conomos J., 2007, Mutant Media. Essays on Cinema, Video Art and New Media, Sydney.
• Duguet A.-M., 1997, Jeffrey Shaw: From expanded cinema to virtual reality, w: Klotz H., red., Jeffrey Shaw – A User’s Manual, Karlsruhe/Ostfildern.
• Fischer S.S. i in., Experiments in interactive panoramic cinema, www.technohistory.net/wp- content/uploads/2009/06/panoramiccinema.pdf, [dostęp 25.06.2014].
• Jeffrey Shaw, the art of interactive cinema, [rozmowa Laurenta Catala z Jeffreyem Shawem], www.digitalarti.com/blog/digitalarti_mag/digitalarti_mag_13_0, [dostęp 25.06.2014].
• Klotz H., red., 1997, Jeffrey Shaw – A User’s Manual, Karlsruhe/Ostfildern.
• Kluszczyński R.W., 2010, Sztuka interaktywna. Od dzieła-instrumentu do interaktywnego spektaklu, Warszawa.
• Parente A., De Carvalho V., 2008, Cinema as dispositif: Between Cinema and Contemporary Art, w: „Cinémas: Journal of Film Studies”, t. 19, nr 1, 2.
• Weibren G., 1998, Random Access Rules, w: Elsaesser T., Hoffmann K., red., Cinema Futures: Cain, Abel or Cable?, Amsterdam.
• Weibren G., 2003, Navigating the Ocean of Streams of Story, w: Shaw J., Weibel P., red., Future Cinema: The Cinematic Imaginary After Film, Cambridge.
• Weibren G., 2007, Ocean, Database, Recut, w: Vesna V., red., Database Aesthetics: Art in the Age of Information Overflow, Minneapolis.
• Weibren G., 2008, Mastery (Sonic c’est moi), w: Reiser M., Zapp A., red., New Screen Media: Cinema / Art / Narrative, London.
• Wittgenstein L., 2004, Dociekania filozoficzne, Warszawa.
• Youngblood G., 1970, Expanded Cinema, New York.
• http://www.nyfa.edu, [dostęp 25.06.2014].
• en.wikipedia.org/wiki/Digital_cinematography, [dostęp 25.06.2014].