The interactive potential of post-modern film narrative: frequency, order and simultaneity

• Autor(a) principal: Caires, Carlos Sena
• Data de Publicação: 2009
• Tipo de documento: Artigo
• Idioma: eng
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: https://doi.org/10.7559/citarj.v1i1.5

A considerable number of contemporary films are now using narrative models that allow several adaptations on digital and interactive operating systems. This trend is seen in films such as Memento by Christopher Nolan (2000), Irréversible by Gaspar Noé (2002) and Smoking / No Smoking by Alain Resnais (1993), concerning the chronological organization of their narrative parts – here it is a question of order. Or in films such as Elephant by Gus Van Sant (2003), Groundhog Day by Harold Ramis, 1993 and Rashômon by Akira Kurosawa (1950), for the diegetic repetition – a question of frequency. Or even, in films such as Magnolia by Paul Thomas Anderson (1999) and Short Cuts by Robert Altman, 1993 which use the idea of expansion or compression of the narrative – a question of simultaneity. To change the accessibility of the cinematographic experience and to constantly re-evaluate the way in which the narrative tool is used, is from now on considered the interactive potential of the contemporary film narrative.