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Database | Narrative | Archive

Seven interactive essays on digital nonlinear storytelling
edited by Matt Soar & Monika Gagnon

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Click, Think, Link: Interval and Affective Narrative MAIN


In trying to engage audiences with cinematographic database narratives
there seem to be two dominant modes at play. The first is what I briefly
characterise here as the “Encarta” model where large scale productions
are undertaken that have all the hallmarks of a major studio production.
Such work generally lacks ‘voice’ and in lieu of this emphasise detail,
technological spectacle, and high cultural capital. The second mode is
more personal. Here projects are smaller scale and rely less on
spectacle than the presence of a ‘voice’ within the work. They are
intimate, crafted, and in many ways small scale works. If the first mode
emphasises information, the second is about experience. These minor
works are ambient, associative and affective and this is what
constitutes their voice. In this series of observations and reflections I
intend to appropriate Deleuze’s application of Bergson’s sensory motor
schema to explore a poetics for cinematographic database narratives via
the cinematic interval. Here database cinema is understood to be an
“assemblage” which is a combinatory system that, is, as Anderson and McFarlane describe:
“‘a constellation’ of elements that have been selected from a milieu,
organised, and stratified” (125). Such assemblages enable the production
of affect via complex forms of media practice suggesting, in turn, that
narrative is not a dominant form within such systems. In this chapter
Korsakow films are taken to be exemplary instances of such affective
assemblages.
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