Play to Create. Briefing 10 February 2009.
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10 February 2009
If appropriate to your concept, the narrative of the sourced novel / book should be referenced and even, dare I say it, read. You must critically engage with the subject area to demonstrate an understanding of the key issues / concepts debated within the film and / or novel.
It is important that the solution it not a literal translation of the film to screen, but a new way of seeing, representing or re-contextualising the narrative structure and content that could only be formatted through an interactive medium.
The work should not be pastiche (a work of art that imitates the style of some previous work) of the film, but an innovative treatment that possibly looks outside the central framework at peripheral directions in narrative, content and time e.g. an extension of a narrative outside the film, what the characters may have done outside the text, speculative scenario's, back stories or future stories / contexts.
La Jetee (and Twelve Monkeys), Pulp Fiction, Memento, Alphaville, Catch 22, Timecode, The Draughtsman’s Contract, Breathless, The Third Man, Throne of Blood, Mystery Train, The Leningrad Cowboys, Helvetica, Fight Club, Hollis Frampton and Ken Jacobs (both Structualist filmmakers).
The work should be process led, content-driven and context specific.
What is the essence of the story / narrative?
Envision the story at a human level, abstracted level, narrative level, imagined or fantasised sequence.
Concept message and audience interaction.
Age and audience. Who are you targeting?
Does it facilitate the user to develop their own subjective pathway, rather than an explicit information dissemination service that negates autonomy and engagement, to allow the narrative to be drawn out of the user?
The sequencing or narrative of the interactive presence to represent the enduring and expressive qualities of the film.
How does the narrative help reveal or unfold the story to engage the user through positive experience?
Hypertext - user affect narrative from ‘inside the field of representation’. Subjective, non-linear journey of discovery.
Decide to what extend your site and the film should mirror one another and how new ideas might develop through the use of spatial based media to reflect the ‘living’ form of the discovery. This is an opportunity to explore the dynamic nature of navigational structures / constantly shifting information unique to interactive media and exploit ideas of ‘space’ that arise out of your analysis of the spatial resonance and hierarchy of complex information.
The ‘layering’ processes of interactivity allow information to be revealed and concealed incrementally. How could you develop and incorporate various techniques of this methodology within the design and organisation of the information?
The daily routine and the worker’s loss of memory are a metaphor for the bereavement of creative autonomy in a self-absorbed networked information society: an imagination stifled. The habitual repetition of the monotonous juxtaposed with the loss of cognitive wherewithal envision the brain moulded by the mundane or explicit. The subsequent externalisations of the salaryman’s life in a series of photographs that document his recurrent daily schedule commoditise this cerebral almost automated self.
How could you envision the premise beyond the filmic boundaries to extend the notions of repetition, life-cycle, banality, technology, memory, the mind and identity?
What are the stories that remain hidden or untold?
Submission date: Thursday 19 March 2009 before 16.00 hours
Format / Size:The sketchbooks with annotated notes should be numbered in chronological order of research. The final artefact should be burnt on a cross platform DVD / CD that works on operating system Mac OS 10.5. Work will not be accepted in other formats and presents the possibility of a fail grade. Please do not hand in work on a memory stick.