Running and Clicking
Future Narratives in Film
1st Edition
Published on 29. October 2013
VIII, 233 pages
978-3-11-027243-7 (ISBN)
Description
Running and Clicking examines how Future Narratives push against the confines of their medium: Studying Future Narratives in movies, interactive films, and other electronic media that allow for nodes, this volume demonstrates how the dividing line between film and game is progressively dissolved. Focused on traditional mass media, transitional media, and new media, it also touches on transmedial storytelling and virtual reality and offers a discussion of the political power of the imaginary and the twilight of Future Narratives in the post-human hegemony of the simulated real.
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10/2013
1st Edition
De Gruyter
€139.95
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Book
10/2013
De Gruyter
€139.95
Article is exhausted; no reprint
Person
Sabine Claudia Schenk, Ludwig-Maximilians-Universität München, Germany.
Content
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]
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]
