| Nowadays,sophisticated digital synthesis technology is inducing the transformation of film form and theory.Many film forms,such as engine film,puzzle film,desktop film and interactive film,are undergoing technological transformation.Take interactive films as an example.Interactive designs such as user interfaces,controls and feedback mechanisms ensure the viewer’s interactivity with the film in order to create a more immersive experience.Production technologies such as real-time rendering,virtual reality,artificial intelligence and machine learning provide more realistic images and scenes,as well as more realistic experiences.The development of emerging technologies not only changes the film ontology,but also puts forward new requirements for the development of interactive films.Seeking a possible technical concept is extremely important for understanding interactive films and studying film types.This paper takes "interactive film" as the object of analysis,based on representative film works,analyzes the existing representations of interactive film,and firstly sorts out the necessary three forms: interactive film game,VR interactive image and cinema interactive film.With media archaeology and technology turning as the research methods,this paper analyzes its technical paradigm,and summarizes three characteristics: convention,integration and history.At the same time,technology ontology,technology generation and suturing mechanism are determined as the main research direction.The first chapter deals with the technical ontology of interactive film.First of all,the archaeology of light and shadow shows that film interaction has its root cause,and this light and shadow technology is the basic component of interactive film.Secondly,taking Black Mirror: Bandersnatch and kino-automat as examples,this paper analyzes the deep dialogue between the audience as the subject and the film and the characters,mainly in the aspects of narrative reconstruction and touching the screen.Finally,it explains the meaning of "interaction" in the post-film period and its enlightenment to interactive films.Chapter two studies the technology generation of interactive film.Taking interactive film games as the starting point,this paper analyzes the movie interaction in games and the concept of game expression and intertextuality in movies,and identifies that games are just a certain tense and type of interactive movies.Secondly,it illustrates the necessary database logic from the characteristics of module and feedback,which implies the limit idea of artificial intelligence to interaction.Its essential idea is to use "collage" to create the multiplication of images,which is the audience’s reconstruction of images and the rest of the visual parts,so as to form new concepts and images.The third chapter describes the technical transmission of interactive film,which is defined as a suturing mechanism.This chapter highlights the role of the audience in the interactive film.The audience first completes the cognitive suture with individual identity and emotional identification.Then,in terms of vision,virtual reality technology stimulates the energy of biological vision and enters the suture layer of rational vision through the interpretation of images,which is the primary enhancement of the five senses.Body suturing highlights the value of embodiment.Although VR devices allow the body to be released to a certain extent,they also allow people to be confined to a specific position instead of being embodied,which eliminates such drawbacks.The necessary suturing is an effective combination of the two.In short,as a kind of epistemology,technology paradigm makes interactive films possess a relatively unified technical concept through the analysis of the historical development,communication context and technical devices of interactive films,and even becomes more mature and sophisticated under the role of artificial intelligence. |
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