in addition to his revolutionary philosophy and his fundamental criticism on psychoanalysis to which he owes his fame, gilles deleuze, the great philosopher, devotes an important part of his thought to formulating the ontology of cinematic image and hence turned out to be known as the only philosopher of cinema. thanks to the multiple classifications of images and creating philosophical concept...

How can authors fictionalise trauma without cognitively suffering intense vicarious in that writing process? This paper explores this question through the lens of fictionalised Intimate Partner Violence (IPV) representations domestic noir narratives. Domestic operates within constraints a space is subverted from sanctuary to potential psychological tyranny or violence. may include reiterative c...

As part of our broader initiative on promoting the education in the field of IVA control mechanisms at high schools and universities, we have created a micro-game Cinema Date, which introduces students challenges posed by controlling 3D virtual characters and expressing their emotional state. The game features two virtual teenagers dating on their way to the cinema. The player can influence the...

Technologies that were initially developed to be applied within the domain of video games are currently being used in experiments to explore their meaning and possibilities for cinema and cinema audiences. In this position paper we examine how narrativity, interactivity and engagement are mutually reshaped within this new domain of media entertainment, addressing both the production and the use...

The new commercial-grade Electroencephalography (EEG)-based BrainComputer Interfaces (BCIs) have led to a phenomenal development of applications across health, entertainment and the arts, while an increasing interest in multi-brain interaction has emerged. In the arts, there is already a number of works that involve the interaction of more than one participants with the use of EEG-based BCIs. H...

This paper takes a look at narrative forms as of yet unexplored in the field of digital interactive storytelling, and proposes methods for how they can be used in engaging ways for the user. Although the various Digital Interactive Storytelling (DIS) prototypes available produce several different story genres, they stem from the same classic narrative form. With this paper, we aim to introduce ...