Abstract

The question of time and its relation to cinema is the common thread in this paper. Through research based on experimental practice, this paper explores, firstly, the psychosomatic processes that may give the viewer different perceptions of time. Secondly, it describes the working process of a film that intends to provide the viewer with the possibility of intervening in the film narrative in a disruptive way, seeking the possibility of subverting the filmic discourse.

Highlights

  • The opening scene of the film Cadavre Exquis is frozen

  • The film Cadavre Exquis, produced by Paula Monteiro (Art8 MACAU), is part of the project The Forking Paths, which is avaible in an online platform dedicated to interactive film experiments

  • Apart from minor technical aspects, the main lesson we take from these two presentations of the work is that the existence of an interactive aspect to the film tended to make that aspect dominant in the mind of the viewer, and provoque a break of expectations if interaction was not constant: some of the viewers suddenly expected a game of sorts rather than a film

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Summary

Introduction

The opening scene of the film Cadavre Exquis is frozen (stopped in time). Three characters meet in the same room. The film Cadavre Exquis, produced by Paula Monteiro (Art MACAU), is part of the project The Forking Paths, which is avaible in an online platform (oscaminhosquesebifurcam.ciac.pt) dedicated to interactive film experiments. The Forking Paths platform intends to bring together experimental interactive films of different origins, genres and formats that seek to develop innovative connections between the spectator-user and the narrative. This project, in particular the interactive film Cadavre Exquis, seeks for clues that may lead to possible paths within the evolution of audiovisual language

Cinema and Surrealism
Interactive film
Implemention of the interactive film
Conclusion
Notas Finais
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