Running and Clicking

1 - Acknowledgments [Seite 5]
2 - Preface [Seite 9]
3 - 1 Concepts and Methodology [Seite 11]
3.1 - 1.1 The Future in 'Future Narratives' [Seite 11]
3.1.1 - 1.1.1 'No Future' - Past Narratives [Seite 15]
3.1.2 - 1.1.2 Mapping the Future [Seite 21]
3.2 - 1.2 From 'Running' to 'Clicking' [Seite 49]
4 - 2 'Running' - FNs on Film [Seite 59]
4.1 - 2.1 "Cinema is memory, it's always part" - or is it? [Seite 59]
4.2 - 2.2 'Film Futures' and Mind-Games in Movies [Seite 63]
4.3 - 2.3 'Running' [Seite 75]
4.3.1 - 2.3.1 Chance and Contingency in Tykwer's Lola Rennt [Seite 76]
4.3.2 - 2.3.2 Kieslowski's Blind Chance - or 'Take It Easy, Lola!' [Seite 96]
4.3.3 - 2.3.3 Artificiality and Complexity in Resnais' Smoking / No Smoking [Seite 109]
4.3.4 - 2.3.4 Parallel Streaming: Howitt's Sliding Doors [Seite 119]
4.3.5 - 2.3.5 The Big Crunch: Van Dormael's Mr. Nobody [Seite 125]
4.3.6 - 2.3.6 Game Over? - Jones' Source Code [Seite 135]
4.4 - 2.4 'Running': The Recipient as Viewer [Seite 142]
5 - 3 'Running' and 'Clicking' [Seite 147]
5.1 - 3.1 Beyond the Film Reel [Seite 147]
5.1.1 - 3.1.1 DVD: Recipient as 'Viewser' [Seite 153]
5.1.2 - 3.1.2 Television and Transmedia [Seite 160]
5.1.2.1 - 3.1.2.1 FNs in TV Serials [Seite 160]
5.1.2.2 - 3.1.2.2 'Reality TV' [Seite 168]
5.1.2.3 - 3.1.2.3 Is the Future LOST, Dina Foxx? [Seite 175]
5.2 - 3.2 Hybrid FNs Between 'Running' and 'Clicking' [Seite 187]
6 - 4 'Clicking' - FNs in New Media [Seite 191]
6.1 - 4.1 'Movie Game' vs 'Interactive Film' [Seite 191]
6.1.1 - 4.1.1 Heavy Rain as Movie Game [Seite 197]
6.1.2 - 4.1.2 FNs and the Database: Korsakow Films and 'Hypernarrative Interactive Cinema' [Seite 202]
6.2 - 4.2 'Clicking': FNs and the User [Seite 211]
7 - 5 Conclusion: FNs in Film and Their Future [Seite 213]
8 - Works Cited [Seite 219]