Movies are no longer fixed in conjunction to one-way-viewing on the big screen or the television. Moving imagery is also open to viewer interception; movies can be manipulated while played according to the model of stop-play-overlay. With this palette in hand we address moviemaking that does not deal with experimental narratives but rather with the direct impact of the depiction of scenes combined with viewer involvement and spatial issues.

In our artist-based work we explore possible new grammars and syntaxes for playable movies; tangible to the viewer through different metaphors of usage or placement in physical space. Our intention is to work with moving imagery in relation to "elasticity" in narrative forms. Issues such as timing and emphasis are crucial in making an effective point in any kind of communication. Responsiveness addresses this in a direct way.

In our work, we elaborate with the montage of cinematic imagery in combination with responsiveness. The ambition is to do simple and straight forward tales that rely on silent action, a dramatic shift in posture, a certain gesture and a relation between one or several characters. Following some representational ideas around cinematic expression we work with responsiveness in moving imagery in conjunction to seamless assembly of several video clips both in parallel and in series in order to invoke "realistic" depiction of scenes that are "magically" influenced by the viewer.

Real-time rendering and media delivery as well as behaviour patterns both offline and online are ever evolving. Intuitive interactions such as navigation in real-time rendered games combined with characterization and instant pay-offs create a possible ground for compelling narratives that are both entertaining and engaging. In our work we want to include the values of moviemaking and visual narration in the development of new media. We believe that these values carry crucial issues around shifts in perspectives, telling stories that are not only fixed around the individual perception and reach, but extend to a multitude of personas well as collectives.

Geska Helena Brečević & Robert Brečević