https://doi.org/10.21697/kmt.2023.55.03
This article discusses the impact of the interplay between narrativity and database logic on the interactor’s
engagement with interactive digital films, using as examples three recently released works from the liminal zone between cinema and videogame: Late Shift, Bandersnatch and Her Story. Drawing on Hartmut Koenitz’s and Marie-Laure Ryan’s conceptualisations of interactive narrativity, the author argues that the digital interactive film can be construed as a database containing frequently
contradictory narrative segments, which become the material for the story (co-)created by the viewer-cumplayer in the act of reception. Paradoxically, database logic can contribute to enhanced narrativity, which allows considering the digital interactive film a medial form effectively combining two frequently contrasted forms of information transmission.
Język Polski
English