This week’s screenings highlight how the ludic impulse from games can influence more traditional forms of media like film and television. How do you see the influence of gaming on films and television, in Run Lola Run, The Simpsons, or other texts we’ve watched this semester? Do you think that future viewers of linear media will want to see interactive elements or other ludic forms influence the viewing experience? How?
This week’s readings focus on the role of narrative and story within videogames. What do you see as the function of story and narrative in gaming? Are there concepts raised in the readings that speak directly to your experiences with games from this class or otherwise?
This week’s readings focus on paratexts and transmedia, exploring how stories can span beyond a film or TV show through both official and fan-created works. How do such extensions shape narrative comprehension and experience? Are there examples from your own experiences that point to the power or importance of transmedia paratexts as part of storytelling & consumption?
In preparation for our discussion of new media and gaming, here’s a thread to discuss your gaming experiences and connect them to various readings or course ideas.
How do the episodes of South Park, Arrested Development, and Buffy the Vampire Slayer demonstrate the television storytelling practices we’ve been reading about? What do they share with soap operas, narratively complex primetime serials, or other modes of storytelling? And how does the mode of viewing isolated episodes rather than part of a whole series impact our understanding?
Today’s readings focus on television serials, especially concerning the dual forms of daytime soap operas and contemporary primetime series. How do you see the similarities and differences between these two forms? Are they slight variations of each other, or might they be two distinct modes of serial narratives?
Mullholland Drive raises numerous problems for narrative theory – is it a case of an unmarked dream sequence? Is it unreliable narration (as Laass explores)? Is it parametric cinema, art cinema, or Hollywood cinema? How do the extratextual markers of Lynch and the failed ABC pilot shape our comprehension? Or are we even supposed to try to comprehend the film? In short, what’s up with this film? (And anyone who wants to investigate the film’s meanings & backgrounds, the Wikipedia page is excellent, as is this interpretation on Salon and this vast fansite.)
Great job on the remix videos today! Every group did something original and effective, exceeding my expectations across the board.
I’d love to offer a continued forum to discuss the assignment, reflect on how such work helps you understand concepts in class in different ways, and any suggestions for future remix assignments. Also, each group should upload a copy to the web, either on MiddMedia or YouTube – the latter might get taken-down, but also might go viral. I plan on writing a post on my own blog about the assignment and want to link to your work, so post the link on this thread.
In the final chapters of Bordwell’s book, he offers two new modes of narration and analyzes the innovative style of Godard. What insights from these films and modes speak to examples that we’ve studied in class? (For instance, might Trapped in the Closet be viewed as parametric?) Or are these categories uniquely tied to their historical moments?
La Jetée and Twelve Monkeys can be seen as telling the same basic story, but in drastically different ways. What are the key differences? How do these differences speak to the distinctions between classic Hollywood and art cinema narration? How do the two films fit within or challenge these categories?