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panel 1a | 10.11.2011 | 15:00-16:00 | room 1 | english
NETWORKED NARRATIVES
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DANIELA OLEK (Bochum)
TV for the Post-TV Generation? Television Series as Hypertextual Narrations.
In 2006 the television series Lost (USA 2004-10, ABC) was called „TV for the post-TV generation“ (Time Magazine). The question which comes in mind immediately is why? What has influenced the viewing behavior so the term audience doesn't seem to fit any longer? How does the behaviour of the viewers differ? What are the reasons for this transformation? And – more interesting – how has it influenced the mode of narrating in television? If we observe the contemporay television narrations we detect that the narration is no longer confined to television itself – and this is not limited to such a highly complex tv series as Lost.
In this talk I will discuss how several television series, which are primarily enclosed textual systems, are opened up by using different media platforms for their narration at once, so it crosses the media boundaries. Furthermore I will discuss how the viewer is embedded within the story as a result and becomes an interactive user. Due to this spacial construction of narrations, in which the different parts have to be searched on different platforms, the disorientation of the viewer is a genuine risk. Based on the intermedial interaction of media and their genres I will argue that these transformations are (but not exclusively) the consequences of the impact of the internet and its related textual organization.
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DANIELA PETROSEL (Suceava)
Reader's (Dis)Orientation in Interactive Fiction
Regarded as one of the main genres of electronic literature, Interactive Fiction combines narrative devices with game elements. By expanding some traditional literary techniques, and by incorporating visual displays and graphics animation, this type of narrative provides a different set of experiences to the reader/player.
The purpose of this study is to analyze various ways in which Interactive Fiction (dis)orients its readers/players. Assuming that we are no longer dealing with a reader, but with an interactor (Nick Monfort), the paper intends to tackle the changes occurred when the text leaps from the flat page of the printed book to the interactive environment of the screen. The immersion into the digitalized fictions determines the user to be involved in a participatory model. Thus, while the reader is taught to behave like an Author, this very process of apprenticeship destroys the narrative tension. Closely guided on the literary pathways, being a participant or an observer, the reader is equally disoriented by the agressive audio and visual stimuli, or by the impression of three-dimensional space. Overwhelmed by the constant reconfiguration of visual shapes, the reader loses the sense of tranquility usually associated with the act of linear/ literary reading.
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