Unconsciously interactive Films in a cinema environment—a demonstrative case study
dc.contributor.author | Kirke, Alexis | |
dc.contributor.author | Williams, D | |
dc.contributor.author | Miranda, Eduardo | |
dc.contributor.author | Bluglass, A | |
dc.contributor.author | Whyte, C | |
dc.contributor.author | Pruthi, R | |
dc.contributor.author | Eccleston, A | |
dc.date.accessioned | 2018-03-08T11:03:45Z | |
dc.date.available | 2018-03-08T11:03:45Z | |
dc.date.issued | 2018-07-03 | |
dc.identifier.issn | 1462-6268 | |
dc.identifier.issn | 1744-3806 | |
dc.identifier.other | 2-3 | |
dc.identifier.uri | http://hdl.handle.net/10026.1/11022 | |
dc.description.abstract |
© 2018 Informa UK Limited, trading as Taylor & Francis Group ‘Many worlds’ is a short narrative live-action film written and directed so as to provide multiple linear routes through the plot to one of four endings, and designed for showing in a cinema environment. At two points during the film, decisions are made based on audience bio-signals as to which plot route to take. The use of bio-signals is to allow the audience to remain immersed in the film, rather than explicitly selecting plot direction. Four audience members have a bio-signal measured sensor for each person: ECG (heart rate), EMG (muscle tension), EEG (‘brain waves’) and Galvanic Skin Response (perspiration). The four are interpreted as a single average of emotional arousal. ‘Many worlds’ was the first live-action linear plotted film to be screened in a cinema to the general public utilizing multiple biosensor types. The film has been shown publically a number of times, and lessons learned from the technical and cinematic production are detailed in this paper. | |
dc.format.extent | 1-17 | |
dc.language | en | |
dc.language.iso | en | |
dc.publisher | Taylor & Francis (Routledge) | |
dc.title | Unconsciously interactive Films in a cinema environment—a demonstrative case study | |
dc.type | journal-article | |
dc.type | Journal Article | |
plymouth.issue | 2-3 | |
plymouth.volume | 29 | |
plymouth.publication-status | Accepted | |
plymouth.journal | Digital Creativity | |
dc.identifier.doi | 10.1080/14626268.2017.1407344 | |
plymouth.organisational-group | /Plymouth | |
plymouth.organisational-group | /Plymouth/Faculty of Arts, Humanities and Business | |
plymouth.organisational-group | /Plymouth/Faculty of Arts, Humanities and Business/School of Society and Culture | |
plymouth.organisational-group | /Plymouth/REF 2021 Researchers by UoA | |
plymouth.organisational-group | /Plymouth/REF 2021 Researchers by UoA/UoA33 Music, Drama, Dance, Performing Arts, Film and Screen Studies | |
plymouth.organisational-group | /Plymouth/Users by role | |
plymouth.organisational-group | /Plymouth/Users by role/Academics | |
dcterms.dateAccepted | 2017-10-23 | |
dc.rights.embargodate | 2019-8-12 | |
dc.identifier.eissn | 1744-3806 | |
dc.rights.embargoperiod | Not known | |
rioxxterms.versionofrecord | 10.1080/14626268.2017.1407344 | |
rioxxterms.licenseref.uri | http://www.rioxx.net/licenses/all-rights-reserved | |
rioxxterms.type | Journal Article/Review |