Além da narrativa ou a narrativa que vai além? O cinema como experiência interativa

Abstract

Cinematographic narratives were reconfigured with the emergence of digital media, opening space for technologies and possibilities of production and exhibition, previously impossible, being able to create immersion and interactivity in countless other ways. Therefore, the discussion here is to understand how interactive cinema is constructed, questioning whether it is narrative or montage or both that build interactivity, as it is expressed in the title. The research aims to understand the construction of narrative in interactive films; to present a parameter of the productions of the genre; and interpreting two works: I'm Your Man (1992), in which the audience used seat-mounted joysticks to interact; and Bandersnatch (2018) a film proposed by a streaming platform. The two films build a narrative that unites cinema, video games and technology and that can define the evolution of interactivity over the decades, as well as the post-media environment (Weibel, 2005) and the transformation of the spectator. Another objective of the research is practical: the creation of an interactive short story based on the perceptions of the study proposed here. This dissertation is justified, considering that it suggests a trajectory that is still a work in progress. Thus, in order to analyze and understand the context of (post)modern technological territories, the theoretical references include authors such as: Henry Jenkins, Pierre Lévy, Arlindo Machado and Lev Manovich. For interactivity, immersion of images and languages (narrative-montage), authors such as André Parente, Newton Cannito and Bruno Mendes, among others, are also cited within the thematic definitions and investigations.