Interactive Filmmaking

It is widely considered that technology gave birth and continues to play a vital role in film production around the globe. Technological advancements have shaped film language and the audience experience throughout history. With the emergence of interactivity and the proliferation of new digital media and technologies, new opportunities, discourses and challenges have arisen. In this context, this paper discusses that current classification approaches are not appropriate for capturing in a comprehensive manner the multidimensional aspects of interactive film history. It is proposed that a new classification system is needed in order to map the history of interactive filmmaking and cinema, alongside the development and affordances of the different interactive technologies in use, like the Hypertext Markup Language (HTML) and web technologies, 360o video, Virtual and Augmented Reality, and Artificial Intelligence (AI) among others. Other prominent characteristics and practices that are considered include the enablement of either single- and/or collective multi-interaction of the audience with the moving image; the role of complex algorithms and the type of data analysis performed; technologies that make direct use of the audience’s physiology and cognitive state, such as the Brain-Computer Interfaces (BCIs); as well as the gamification of the film viewing experience. Accordingly, a new approach to identifying a suitable systematic structure is outlined, as opposed to recycling the conventional methods of classification, chronological order and genre categorisation.

In recent years, the increasing number of interactive films being released, has highlighted the need for further development of methods and criteria that can guide the earlier stages of development, such as the scriptwriting process. Following the framework of interactive storytelling as a spectrum, it is acknowledged that writing a script for an interactive narrative that involves branching path options for navigating through the story, or multiple endings, is becoming more common and presents its own challenges. In this context, this paper examines established criteria used for assessing narrative quality and examines currently available software for interactive scriptwriting, identifying their affordances and limitations. Accordingly, we present Scapegoat, a short interactive crime drama, based on the model of British homicide investigations, and with the objective to investigate in practice the application of the criteria for narrative quality, together with the processes and elements of scriptwriting that can lead to a strong engaging story. We propose an approach that can efficiently incorporate crucial information of the interaction design, it can be effectively communicated to the crew and cast and used throughout the production lifecycle of the film. We highlight the crucial role of the on-set script supervisor for ensuring the interaction design is not compromised, and continuity is retained. We also discuss recommendations for further developments, including the importance of engaging the crew and cast early in the development process, together with future work into the requirements of interactive commissioners for television and film, and the need for standarisation in the industry.

As in the broader cultural sector, COVID-19 has created unprecedented challenges for cinema exhibitors in the UK and worldwide. Venues have been forced to close for months, operate with substantial uncertainty, or re-open with reduced capacity. Still, their position remains precarious and the challenges to the sustainability of the sector are ongoing: changing restrictions and associated increased costs, reduction in production and distribution pipelines. The British Film Institute highlighted that the pandemic poses an existential threat, especially to independent exhibitors and those operating in remote or deprived areas. Thus, COVID-19 has also highlighted existing inequalities, the digital divide, and the need to expand the audiences’ diversity. Meanwhile, in sectoral events, panels have reflected on how exhibitors and audiences have become more accustomed to accessing media experiences online, and how this new digital literacy will support cinemas’ efforts to attract cinemagoers in their reopening. Prior to COVID-19, the use of interaction design for new cinematic experiences had attracted the interest of festivals, filmmakers and researchers. In this position paper, we argue that interaction design and technologies can help independent cinemas to engage and galvanise new audiences to patronise COVID-safe venues. From low-end online platforms to high-end immersive experiences, new technologies are transforming connectivity across society, and have the potential to support access for D/deaf, neurodivergent, and disabled audiences, but adoption by exhibitors is so far limited. We outline the research needs and priorities in this field. These include identifying facilitators and obstacles to industry adoption of interactive forms, and mapping experiences and attitudes across the sector. Together with directions for immediate practical solutions, it is crucial to gather critical data for future research use, in order to pave the way for long-term solutions and design innovation, so that the sector can build resilience, recover and reach underserved audiences.

To reach younger audiences, museums worldwide have incorporated interactive and hands-on activities, while some venues specialise in children as their main audience. Videos, in particular, can be easily integrated in the museum space and provide a variety of application possibilities. Their use creates a hybrid experience for the visitor in which the interaction between physical and digital elements transforms and enriches their experience of the exhibits. Furthermore, the use of interactive technologies has been proven to increase visitor numbers and interactions on- and off-site. In this context, our research focuses on the use of interactive video technologies, and factors that can lead into the design of engaging and user-friendly museum experiences for children. To achieve this, a museum was chosen as a case study and a survey was conducted. The results indicated that the creation of an interactive video could benefit the areas that were visited less; the preferable length is rather short; while hands-on and video installations promote and prolong the engagement of young visitors, and are favoured by both younger and older children. Additionally, fictional or dramatised stories are attractive to children compared to documentaries; and it would be preferable to access the interactive content on their mobile devices. These have led to the production of Paintings Alive, an interactive film for children, based on the museum’s art gallery, and accessible on the visitors’ mobile devices. Our paper also discusses the findings of the project, alongside the challenges and limitations imposed by the COVID-19 pandemic, and offers recommendations for future work.