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‌Critical Analysis of Marie-Laure Ryan’s Narrative as Virtual Reality (2003)

Ryan, M.-L. (2003) Narrative as Virtual Reality. Available at: https://books.google.co.uk/books?hl=en&lr=&id=2KHYCgAAQBAJ&oi=fnd&pg=PP1&dq=Marie-Laure+Ryan%E2%80%99s+Narrative+as+Virtual+Reality+(2003)&ots=sKtxki3xRQ&sig=LFCs7NpKsluPfsLftdHxD2aeGiM#v=onepage&q=Marie-Laure%20Ryan%E2%80%99s%20Narrative%20as%20Virtual%20Reality%20(2003)&f=false (Accessed: 6 January 2025).

Introduction Marie-Laure Ryan’s Narrative as Virtual Reality delves into the fascinating intersection of storytelling and digital media, exploring how traditional narratives are reshaped in interactive and immersive environments. As a prominent scholar in narrative theory and digital media, Ryan has made significant contributions to our understanding of how digital technologies transform how we tell stories. Her work bridges the familiar forms of storytelling we’ve known for centuries and the emerging, interactive, virtual experiences that define much of our media today.

In this analysis, I focus on a section from Chapter 2, “Immersion and Interactivity,” where Ryan explores two key concepts: immersion and interactivity. She takes us through both their theoretical significance and practical applications, providing insight into how these elements work together (and sometimes against each other) to shape modern storytelling. What makes this section particularly compelling is how Ryan examines the balance and tension between immersion — the feeling of being absorbed in a story — and interactivity — the active engagement and decision-making that digital media allow.

As I engage with Ryan’s argument, I’ll unpack her thematic focus, her innovative strategies, and the theoretical frameworks she draws upon. Along the way, I’ll also consider some potential limitations in her discussion, particularly as it relates to the evolving nature of digital media.

Summary In this section, Ryan contrasts immersion as the sensation of being transported into a story world with interactivity, which demands active engagement and user decision-making. She articulates that these two modes often appear in tension, immersion seeks the attention of the audience in a narrative, while interactivity is necessary for a conscious agency that can disrupt that immersion. Ryan supports her argument with examples from literature, gaming, and virtual reality, demonstrating how these mediums negotiate the balance between narrative absorption and user control.

Ryan also introduces the idea of “selective immersion,” where interactivity does not detract from immersion but instead enhances engagement by allowing users to personalize their narrative experience. Her analysis is anchored in a comparison of traditional narratives with emerging digital forms, making a case for the transformative potential of digital media on narrative structures.

Analysis Ryan’s exploration of immersion and interactivity highlights a central tension in the evolution of narrative forms. Her argument is particularly significant in the context of digital storytelling, where user agency often redefines the boundaries of authorship. For instance, Ryan’s discussion of role-playing games as a hybrid narrative form illustrates her assertion that interactive environments can create a “shared authorship” model between creators and users. This challenges traditional notions of storytelling as a linear, author-driven process.

Another key theme in this section is the adaptability of narrative structures. Ryan’s argument aligns with postmodern theories of narrative, where multiplicity and fragmentation become central to storytelling. By applying these ideas to digital environments, Ryan expands the scope of narrative theory to include non-linear and participatory forms, emphasizing their capacity for innovative storytelling.

Ryan’s writing style is both accessible and deeply analytical, blending theoretical rigor with practical examples. Her use of case studies, such as video games and hypertext fiction, illustrates abstract concepts in concrete terms, enhancing the reader’s understanding. For example, her analysis of Myst as a case study effectively demonstrates how interactivity can coexist with immersion in a carefully designed narrative environment.

Ryan’s rhetorical strategy relies heavily on comparative analysis, positioning traditional literary narratives alongside digital forms to highlight their similarities and differences. This approach underscores the transformative potential of digital media while acknowledging the enduring value of traditional storytelling techniques.

However, her dense theoretical discussions occasionally risk alienating readers unfamiliar with key concepts. For instance, her use of terms like “diegetic immersion” and “ontological interactivity” assumes a certain level of familiarity with narrative theory, which may limit accessibility for broader audiences.

This section of Narrative as Virtual Reality is deeply rooted in the early 21st-century context, a time when digital media was rapidly emerging as a dominant cultural force. Ryan’s analysis reflects the zeitgeist of the early 2000s, capturing the excitement and challenges posed by new narrative technologies. Her discussion of virtual reality and gaming as narrative forms prefigures contemporary debates about the role of AI and machine learning in storytelling.

From a theoretical perspective, Ryan’s work engages with key thinkers in narrative theory and media studies, such as Roland Barthes, Gérard Genette, and Janet Murray. By synthesizing their ideas with her own observations, Ryan situates her argument within a broader intellectual tradition, lending it both depth and credibility.

One of the strengths of this section is Ryan’s ability to bridge theoretical discourse with practical examples. Her analysis is thorough and thought-provoking, offering valuable insights into the evolving relationship between narrative and technology. Additionally, her concept of “selective immersion” provides a nuanced framework for understanding how interactivity and immersion can coexist, challenging the binary opposition often assumed between these modes.

However, the section also has its limitations. Ryan’s focus on early digital media forms, such as hypertext fiction and early video games, can feel somewhat dated when viewed through a contemporary lens. While her arguments remain theoretically sound, the rapidly evolving nature of digital media necessitates continual updating to maintain relevance. Furthermore, her analysis occasionally glosses over the socio-cultural implications of digital storytelling, such as issues of accessibility and representation, which are increasingly central to discussions in the field.

In this section of Narrative as Virtual Reality, Ryan masterfully navigates the complex interplay between immersion and interactivity, offering a nuanced and forward-thinking analysis of narrative transformation in the digital age. Her exploration of these themes not only illuminates the challenges and possibilities of digital storytelling but also raises critical questions about the future of narrative forms. While the section’s strengths lie in its theoretical depth and practical relevance, its limitations highlight the need for continued exploration of digital media’s socio-cultural impact.

Ryan’s work remains a foundational text in narrative theory, offering timeless insights that continue to inspire discussions about storytelling in an ever-changing technological landscape.

[sonkusarenitesh]

Reader:-

1.

Sullivan, G. (2010) "Art practice as research : inquiry in visual arts" [online] Available at: https://library.herts.ac.uk/cgi-bin/koha/opac-detail.pl?biblionumber=286072 [Accessed 6 Jan. 2025].

‌This chapter talks about the idea of “studio-based research” as a powerful way to develop critical and reflective practices in the art. For Sullivan, the studio is more than a room for work, it is a living, breathing space where creativity and curiosity go hand in hand. It’s a space where artists are always creating, assessing and improving, leading to richer breakthroughs and deeper understanding.

For a Games Art student, this chapter is full of practical insights, especially the concept of "visual knowledge" (p. 101), which defines art as an active source of ideas and understandings rather than just an end result.

Sullivan doesn’t just share theories, he gives practical advice too. His guidance on documenting and assessing studio work (pp. 122-128) is a key to refining how we analyse our work. Whether designing huge and complicated environments or testing new design ideas, these strategies can take your art to a new level. Someone who desires to improve their design skills should definitely consider reading this book as a guide.

2.

Solariski, C. (2013). "The Aesthetics of Game Art and Game Design" [online] Available at: https://www.gamedeveloper.com/design/the-aesthetics-of-game-art-and-game-design [Accessed 6 Jan. 2025].

This article explores how classic art principles can be integrated into modern art design focusing on how composition, shape and colour affect the player emotionally as well as visually. Chris Solarski takes a closer look on how fundamental techniques such as leading lines, balancing and contrast are used to direct a player’s attention and enhance the narrative.

The section of shape psychology is especially insightful, showing how gentle, circular shapes convey a sense of safety, whereas sharp, angular ones suggest danger. This insight is incredibly useful for designing characters and environments that match the desired gameplay experience. This is an excellent resource for aligning visual elements with gameplay objects.

Solarski also examines games like Journey and Limbo, illustrating how careful art direction can lead to deeply immersive and emotional player experiences. This article serves as a thoughtful guide for anyone who aims to develop a game that is visually striking and emotionally engaging, making it a must-read for refining your approach towards the character and environment designs.

3.

Salen, K. and Zimmerman, E. (2003) "Rule of Play: Game Design Fundamentals". [online] Available at: https://library.herts.ac.uk/cgi-bin/koha/opac-detail.pl?biblionumber=215437 [Accessed 6 Jan. 2025].

In this chapter the authors explore the complex role of a game designer, highlighting the challenge of maintaining a delicate balance between creative vision and keeping the players engaged. Salen and Zimmerman describe how designers work as a bridge between gameplay mechanics, aesthetics and narrative, making sure these elements come together seamlessly to deliver a meaningful game experience.

Understanding how artistic and technical decisions influence the gameplay. The part on “embedded and emergent narratives” (pp. 92-95) offers valuable insight on creating game assets that communicate stories though visual aspect. Meanwhile, the “iterative design” (pp. 98-103) give practical guidance on using feedback and testing to improve creative work.

This section connects the gap between theory and real-world experience, guiding the designers to develop a well-rounded approach to design a game. It is useful for projects that combine visual creativity with an immersive playing experience.

4.

Cholodenko, A. (1993). "The Illusion of Life: Essays on Animation". [online] pp.251–253. Available at: https://www.jstor.org/stable/27670724 [Accessed 6 Jan. 2025].

Cholodenko’s review provides a thoughtful analysis of The Illusion of Life: Essays on Animation, highlighting a deep dive into animation as both an art and a cultural force. It points out how the book explores animation’s unique capacity to combine realism with fantasy, providing valuable perspectives on how storytelling can be expressed through movement and emotion.

This article provides important insights in understanding the principles of animation. Key points include how exaggeration plays a crucial role in enhancing the scene and making it more believable (p. 252) and the connection between visual style and narrative structure (p. 253). These concepts prove to be helpful in crafting engaging, dynamic and full of life animation sequences.

5.

Shaker, N., Togelius, J. and Nelson, M.J. (2016) "Procedural Content Generation in Games". [online] Available at: https://www.google.co.uk/books/edition/Procedural_Content_Generation_in_Games/-IdJDQAAQBAJ?hl=en&gbpv=1 [Accessed 6 Jan. 2025].

Shaker, Togelius and Nelson’s chapter on Procedural Content Generation (PCG) in video games offers a comprehensive examination of technologies used to create dynamic, player-specific game content. The chapter offers huge amount of relevance to my work in game design, giving valuable insights into algorithms and their use in games like Minecraft and No Man’s Sky. The authors creates an ideal balances for both beginners and advanced readers by providing technological details with its accessibility. “I found the discussion on the challenges of balancing randomness with intentional design particularly useful for my own projects, as I explore how to integrate procedural generation in creating expansive, engaging worlds. This text has significantly influenced my understanding of PCG’s potential to enhance player experience”.

6.

Taylor and Francis (2008) "Digital Art Masters". Volume 3 ed. [online] 3D Total. Available at: https://ebookcentral.proquest.com/lib/herts/reader.action?docID=369485&ppg=3 [Accessed 6 Jan. 2025].

Digital Art Master's Series by 3DTotal Publishing is a valuable resource for digital artists seeking to improve their craft. Featuring interviews with prominent artists, the book provides detailed insights into the creative and technical processes behind digital art, with a focus on concept design, 3D modeling, and digital painting. The tutorials and step-by-step breakdowns of techniques, such as lighting, texture application, and composition, offer practical guidance for artists at various skill levels. This book is particularly useful for my work in character and environment design, as it helps refine my understanding of industry-standard workflows and artistic problem-solving. The diversity of artist perspectives enriches my approach to digital art, providing both inspiration and technical advice that can be immediately applied to my practice.

7.

Fernandez-Vara, C. (2019) "Introduction to Game Analysis". [online] Available at: https://ebookcentral.proquest.com/lib/herts/reader.action?docID=5646038&ppg=1 [Accessed 6 Jan. 2025].

‌‌Clara Fernández-Vara’s Introduction to Game Analysis provides an accessible yet thorough framework for understanding the critical components of video game design and narrative. The article outlines various methods of analyzing games, focusing on gameplay mechanics, narrative structures, and the player's role in shaping the gaming experience. This work is highly relevant to my research on game design as it offers a structured approach to deconstructing games, emphasizing how design elements influence player experience. Fernández-Vara’s focus on the interplay between game mechanics and storytelling is particularly valuable for understanding how these elements can be leveraged in creating immersive, engaging narratives in my own projects. The article serves as both a theoretical and practical guide for critically engaging with games from multiple perspectives, helping me refine my analysis of games in development.

8.

Schell, J. (2008) "The Art of Game Design: A Book of Lenses". [online] Available at: https://r4.vlereader.com/Reader?ean=9780080919171 [Accessed 6 Jan. 2025].

‌ In The Lens of Emotion, Jesse Schell explores the emotional impact of game design, emphasizing how designers can create experiences that evoke specific emotions from players. This chapter is incredibly valuable for my work in game design, as it provides practical insights into designing emotionally engaging gameplay. Schell introduces a framework that encourages designers to consider the emotional responses they want players to have at each stage of the game, from initial engagement to resolution. His discussion of emotional pacing and player empathy directly informs my approach to crafting more immersive, emotionally resonant experiences. The chapter also highlights the balance between challenge and reward, which is crucial for maintaining emotional investment throughout the game. This lens has expanded my understanding of how to connect with players on a deeper level through intentional design choices.

9.

Bancroft, T. (2006) "Creating Characters with Personality" [online] Available at: https://library.herts.ac.uk/cgi-bin/koha/opac-detail.pl?biblionumber=258234 [Accessed 6 Jan. 2025].

‌In this chapter, Tom Bancroft explores the importance of infusing emotion into character design to make them relatable and memorable. Bancroft provides practical techniques for creating characters with strong emotional presence, emphasizing the role of posture, facial expressions, and color choice in conveying mood. This chapter is especially useful for my own work in character design, as it highlights how subtle visual cues can significantly enhance a character's personality and narrative impact. Bancroft's accessible language and clear illustrations make the concepts easy to apply in real-world projects, helping me refine my approach to developing emotionally resonant characters.

10.

Manovich, L. (2002) "The Language of New Media". [online] Available at: https://ebookcentral.proquest.com/lib/herts/reader.action?docID=6246549&ppg=1 [Accessed 6 Jan. 2025].

‌In this chapter, Manovich explores the foundational principles of new media, particularly how digital technologies have reshaped traditional media forms. He argues that new media is defined by its use of modularity, automation, variability, and transcoding. This framework is vital for understanding the structure of digital art and interactive media. For my own work in digital design, Manovich’s analysis of how digital media changes the way content is produced and consumed has been instrumental in conceptualizing how interactivity and user-generated content can influence narrative and design. His insights help me rethink how to approach the fluidity and flexibility inherent in new media projects.

11.

The (2024). The Visual Story, 2nd Edition. [online] O’Reilly Online Learning. Available at: https://learning.oreilly.com/library/view/the-visual-story/9780240807799/?sso_link=yes&sso_link_from=UnivofHerts

‌In the chapter on Visual Structure, Bruce Block delves into the essential role that visual elements play in shaping the narrative of film, television, and digital media. He emphasizes how aspects like space, line, shape, and color work together to guide audience perception and emotional response. This chapter is particularly valuable for my work in visual storytelling, as it offers a detailed breakdown of how to structure compositions to reinforce thematic elements. Block’s explanations of visual unity and balance have significantly influenced how I approach the visual design of my projects.

12.

Madigan, J. (2011). Book Review: "Reality is Broken by Jane McGonigal". [online] The Psychology of Games. Available at: https://www.psychologyofgames.com/2011/03/book-review-reality-is-broken-by-jane-mcgonigal/

‌In The Power of Games, McGonigal discusses how video games can enhance real-life skills and foster positive social change. She argues that games promote collaboration, problem-solving, and persistence, qualities that can be transferred to addressing global challenges. This chapter is crucial for my understanding of how games go beyond entertainment to drive meaningful impact. McGonigal’s insights inspire me to think critically about the potential for gamification in various fields, including education and social innovation. Her analysis encourages me to consider how game mechanics can be harnessed to foster real-world solutions and motivation.

13.

Swink, S. (2008). "Game feel: a Game designer’s Guide to Virtual Sensation". [online] Available at: https://r3.vlereader.com/Reader?ean=9780080921754 [Accessed 6 Jan. 2025]

‌In this chapter, Swink explores the concept of "game feel," focusing on the physical interaction between players and the virtual world. He explains how the tactile experience of controlling a game — such as the sensation of weight, friction, or responsiveness — directly impacts player immersion and satisfaction. This chapter is especially valuable for my work in game design, as it highlights the importance of designing intuitive, responsive mechanics that enhance the player's emotional connection to the game. Swink's clear examples and breakdowns of specific game dynamics offer actionable insights for creating more engaging experiences. By understanding the nuances of how players physically interact with virtual spaces, I can create more immersive, emotionally compelling gameplay that feels natural and satisfying.

[sonkusarenitesh]

Blog Post- 10

Analyzing Virtual Reality Through Theoretical Frameworks

Introduction-

Virtual Reality (VR) has grown rapidly over the past decades, starting as a niche technology from entering into mainstream tools for gaming, education, healthcare, and arts. A fully digital environment is created in the physical world with the help of VR, along with Augmented Reality (AR) and Mixed Reality (MR). These technologies promise new possibilities for interaction and engagement. However, VR comes with its own challenges. Questions about its impact on perception, identity, and society need to be explored. In this post, I will analyze VR through various theoretical frameworks, drawing on the work of scholars such as Alison McMahan, Lev Manovich, and posthumanist theorists, while considering how these perspectives deepen our understanding of VR’s potential and limitations.

Theoretical Frameworks for Analyzing Virtual Reality:

1. Alison McMahan’s Theory of Immersion, Engagement, and Presence-

In her seminal work, Immersion, Engagement, and Presence: A Method for Analyzing 3D Video Games, Alison McMahan outlines a framework for understanding the psychological effects of interactive digital environments like VR. McMahan defines immersion as the sense of being surrounded by a virtual environment, engagement as the depth of the user’s interaction with that environment, and presence as the feeling of "being there" (McMahan, 2003). According to McMahan, the power of VR lies in its ability to create an intense feeling of presence, where the user's actions have real consequences within the virtual space.

What does McMahan's theory reveal? McMahan's framework helps us understand the active participation of the user instead of being a passive observer. The theory is particularly relevant when analyzing VR’s use in storytelling, gaming, and virtual tourism, where users can physically move through and alter the environment, thereby creating a profound sense of immersion.

2. Lev Manovich’s Media Theory-

Lev Monavich offers a perspective on VR that is rooted in his broader theory of digital media, this theory is mentioned in The Language of New Media. Monavhich argues that the new media reconfigures our interaction with content, this includes VR-driven content. Unlike traditional media where the viewer is a passive observer, VR allows users to interact, manipulate, and explore in a non-linear way (Manovich, 2001). This sense of being a part of the virtual environment is at the core of VR's appeal, enabling a deeper connection to the content.

What does Manovich’s theory reveal? By analyzing interactivity, Monavich's theory helps us understand that VR is not just about passive engagement but about the active role users take in creating meaning within the virtual space. This view is essential for understanding VR’s potential in education, where users can engage with material by exploring interactive environments, or in gaming, where players influence the outcome of the narrative.

Virtual Reality in Art-

We can consider the VR installation Tree by Marshmallow Laser Feast a good illustration of these frameworks. This immersive experience invites users to embody a tree and explore its structure with the surrounding environment. The installation uses VR to engage users cognitively and emotionally with nature.

McMahan’s Theory: The VR experience in Tree creates a deep sense of presence, where users feel physically embedded within the tree’s environment. The emotional engagement is intensified by the interactive nature of the installation, which allows users to perceive the tree from different angles and experience its surroundings.

Manovich’s Media Theory: In Tree, users interact with the virtual tree by manipulating their virtual perspective, offering a non-linear, interactive exploration of nature. The immersive nature of the experience is a direct result of the interactivity at its core, allowing users to shape their encounter with the virtual world.

Enhancing My Own Work with VR/AR/MR-

As a creator, I am interested in how VR/AR/MR could expand the scope of my interactive art. My current work involves creating a space environment where the audience's physical movement influences the visual experience. Introducing VR could immerse the audience in a fully three-dimensional, interactive spacial environment, where users can explore and manipulate the surroundings with their gestures.

What would my work gain from VR? VR would allow for deeper interactivity and immersion, offering the audience a chance to engage with my work on a more personal and participatory level. The extra-terrestrial experience would be heightened as users could move through virtual spaces, creating a more engaging and dynamic encounter with the artwork.

What are the risks? The primary risk of using VR is the potential for sensory overload. If the virtual environment is too complex or overwhelming, it could detract from the emotional or conceptual message I intend to convey. Additionally, VR could isolate the audience by making the experience individual rather than communal.

Wrap up-

Virtual reality offers transformative possibilities for art, education, gaming, and beyond. By analyzing VR through the theoretical frameworks, we can obtain a deeper understanding of its potential to reshape our experience of space, identity, and interaction. While created are being presented exciting opportunities through the progress of VR, it also raises critical questions about the boundaries between the virtual and the real, the role of interactivity, and the potential risks of sensory overload or isolation. As these technologies continue to evolve, it is essential to approach them thoughtfully, considering both their potential and their limitations.

Reference List-

www.immersence.com. (n.d.). Alison McMahan (2003). Immersion, Engagement, and Presence. A Method for Analyzing 3-D Video Games. [online] Available at: https://www.immersence.com/publications/2003/2003-AMcMahan.html.

‌McMahan, A. (2003). Immersion, engagement, and presence: A method for analyzing 3-D video games. [online] Available at: https://www.researchgate.net/publication/284055280_Immersion_engagement_and_presence_A_method_for_analyzing_3-D_video_games.

‌Penguin.com.au. (2024). The Language of New Media by Lev Manovich. [online] Available at: https://www.penguin.com.au/books/the-language-of-new-media-9780262632553 [Accessed 23 Dec. 2024].

Marshmallow Laser Feast. (n.d.). Works of Nature. [online] Available at: https://marshmallowlaserfeast.com/project/works-of-nature/.

‌

[sonkusarenitesh]

Blog Post- 09

Exploring the Role of Affective Engagement in Digital Culture

Introduction-

The digital world has increasingly become a site of emotional exchange, with social media platforms, memes, fashion trends, and even virtual realities shaping the ways we feel and express emotions. In this post, I will explore the nature of the digital world, engaging with the readings by Döveling, Harju, and Sommer (2018) and Crepax and Liu (2024), along with the video "Visceral Theory: Affect and Embodiment." My main focus will be to understand how emotional engagement is created in the digital world and whether these engagements are effective in shaping our online experiences.'

The Warmth and Coldness of Digital Media-

One of the major debates for digital media is whether these platforms enhance or suppress emotions. According to Döveling et al. (2018), the nature of these digital platforms gives the opportunity for the global spread of emotions which allows people to share feelings across a huge network. These platforms can give a sense of confidence when users connect emotionally through their knowledge, such as political movements or support groups. However, the superficiality of these online interactions can give a sense of emotional coldness, lacking the depth and lasting bonds that come from more meaningful, face-to-face relationships.

In contrast, affect is described in the video, exists at a visceral level, beyond rational thoughts. It is felt in the body. This physical sense of emotion is difficult to portray in a digital space. Despite this, the embodiment of affect in digital media is still possible, especially through visual design or sensory media like video and audio.

How Digital Media Creates Emotional Engagement-

Virtual content, AR filters, memes, etc. These are some of the examples through which we can understand the way digital media creates emotional engagement. These objects are designed to provide immediate emotional reactions, ranging from laughter to sadness. As Crepax and Liu (2024) highlight, digital media often brings up nostalgia, leveraging cultural memories or aesthetic trends to evoke a sense of connection. Fashion, as they discuss, particularly uses digital aesthetics to provoke emotion, creating an affective connection with the users.

An example of this is the viral "Ice Bucket Challenge", a simple digital meme that combined physical challenge with social engagement, promoting both awareness and emotion. As viral content, it created a sense of shared purpose and community, demonstrating how digital spaces can harness emotional engagement for broader social impact.

What Does Affect Do?

Affect in digital media plays a critical role in shaping identity and social belonging. It can create a sense of connectedness or reinforce social divides., depending on how it is used. Affect can be a major impact in shaping our emotional response to political events, personal identity, and consumer behavior. For example, when engaging with an emotional appeal in an ad or meme, people are often encouraged to share, comment, or engage in a new trend. This emotional charge influences behavior and even social identity.

Wrap up-

The complex relationship between emotional engagement and digital technologies can be explored as an affect of digital media. While these platforms can provide deep emotional connections, they can also create superficial emotional experiences. As we continue to interact with and create in the digital world, understanding how affect works can help us make more meaningful connections and engage more authentically in these spaces.

Reference List-

ajayc42 (2013). Visceral Theory: Affect and Embodiment. YouTube. Available at: https://www.youtube.com/watch?v=kP_AfO7Ms4I.

‌Crepax, R. and Liu, M. (2024). Affective Fashion Trends: Aesthetic and Digital Affects from Nostalgia to AR. Fashion Theory, pp.1–27. doi:https://doi.org/10.1080/1362704x.2024.2389595.

‌La Riviere. (2019). How do you organize a Runway Fashion Show? [online] Available at: https://larivierefashion.com/how-do-you-organize-a-runway-fashion-show/.

‌Wikipedia Contributors (2018). Ice Bucket Challenge. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Ice_Bucket_Challenge.

‌Döveling, K., Harju, A.A. and Sommer, D. (2018). From Mediatized Emotion to Digital Affect Cultures: New Technologies and Global Flows of Emotion. Social Media + Society, 4(1), p.205630511774314. doi:https://doi.org/10.1177/2056305117743141.

‌Dukeupress.edu. (2021). Parables for the Virtual. [online] Available at: https://www.dukeupress.edu/parables-for-the-virtual-twentieth-anniversary-edition [Accessed 23 Dec. 2024].

[sonkusarenitesh]

Blog Post- 08

Examining Gender and Racial Bias in Media: Reflections on Representation and Intersectionality

Introduction-

In today's world, media is majorly responsible for shaping the social perspective of people, these often give birth to stereotypes about race and gender. These assumptions in media platforms like films, television, video games, or advertisements can create a huge impact on the cultural narratives and individual behaviors. In this blog post, I will focus on the representation of race and gender in multimedia, with the help of a famous video game example, and analyze how intersectionality can inform a more immersive approach to creative practice. Through analysis of media bias, insights from Nira Yuval-Davis' work on intersectionality, and perspectives from a study on a video game, this post will critically evaluate how we can address and avoid such biases in our own work.

Media Object: The "Grand Theft Auto" (GTA) Franchise-

For this analysis, I have chosen the Grand Theft Auto (GTA) video game series as a focal point. GTA is known for its open-world gaming experience and controversial content, presenting various instances of gender and racial bias. Despite having massive popularity, the way women and people of color are portrayed in the franchise has been critiqued worldwide. Women in GTA games are often objectified, and reduced to secondary roles or stereotypes (e.g., the "damsel in distress" or the seductive female). Furthermore, the Black and the Latino characters are primarily shown as criminals or gang members imposing racial stereotypes, while the complex and empowering roles are played by the white characters.

Exclusion of Certain Groups-

In GTA there is a reflection of race and gender being excluded significantly. Mostly, women are very limited, often in negative roles. These roles are generally of sex workers, victims, or passive figures. This portrayal helped reinforce the idea that women are unimportant in the stories being told. This is the same case with the racial representation imposing harmful stereotypes.

This exclusion of women and how people of color are shown results in an unnatural representation of reality. These portrayals not only affect how players think about the community but also normalize harmful discrimination both in virtual and real-world settings.

How to Fix It: Is It Possible?

A good amount of work needs to be done on the character development and storytelling approach to address these biases within GTA. The game needs to introduce more diversified characters. The representation of women should not be related to the roles that serve the male protagonist's story but should be portrayed as strong, multifaceted characters with their own goals and narratives. There should be a complex background, motives, and desires for the people of color.

However, the question arises, Is it possible to fix these challenges with existing media like GTA, given that these biases are deeply embedded within the game's formula? The success of the games mostly relies on these very stereotypes, and there is a risk in changing the nature of the game, as there are audiences that expect the provocative, controversial significance of the game. She writes, “Intersectionality recognizes that categories such as race, gender, and class are not isolated from each other but are interconnected in ways that shape individual and collective experiences" (Yuval-Davis, 2006, p. 198).

To ensure the authenticity of the representation in my creative practice. I would represent different kinds of perspectives through character design, narrative development, or visual art. I will ensure that the experiences of gender, class, race, sexuality, and other identities are considered in a holistic way.

Strategies for Avoiding Bias in My Own Practice-

As a creative practitioner, I should make conscious efforts to be inclusive in order to avoid biases in my work. One strategy would be to adopt an intersectional lens, as Nira Yuval-Davis discussed in her article "Intersectionality and Feminist Politics. Yuval-Davis argues that intersectionality helps us understand the interwoven nature of social identities and how these identities shape experiences of power and discrimination (Yuval-Davis, 2006).

Furthermore, adopting embodied identification in media which is discussed in the study “Using Intersectional Representation & Embodied Identification in Standard Video Game Play to Reduce Societal Biases”, will help shape a more inclusive environment. It is suggested in the study that when players can embody diverse characters and experience their story, it can foster thinking regarding empathy and existing biases. In my own work, I could create the world that would be seen through the eyes of underrepresented groups, by allowing engaging with multiple perspectives.

Wrap up-

The biases like gender, race, and power are clearly reflected by media products like GTA. We can create a more inclusive and diverse media by critically analyzing and adopting the intersectional approach. By reimagining how we represent women, people of color, and other groups in our creative work, harmful stereotypes can be challenged and contribute to a more empathetic cultural landscape. As we continue to develop our practices, it is important to make sure that the stories we are tell reflect the complexity and diversity of human experience.

Reference List-

Yuval-Davis, N. (2006). Intersectionality and Feminist Politics. European Journal of Women’s Studies, 13(3), pp.193–209. doi:https://doi.org/10.1177/1350506806065752.

‌Xbox.com. (2024). Grand Theft Auto V | Xbox. [online] Available at: https://www.xbox.com/en-IN/games/gta-v [Accessed 20 Dec. 2024].

‌Pearson, C. (2019). Race and Gender Portrayals in Grand Theft Auto | Blackness 2.0. [online] sites.williams.edu. Available at: https://sites.williams.edu/cpp3/uncategorized/race-portrayals-in-grand-theft-auto/.‌

Erhard, V. (2022). Grand Theft Auto: 13 Best Female Characters, Ranked. [online] Game Rant. Available at: https://gamerant.com/grand-theft-auto-best-female-characters/.

‌Jarrell, M., Ghaiumy Anaraky, R., Knijnenburg, B. and Ash, E. (2021). Using Intersectional Representation & Embodied Identification in Standard Video Game Play to Reduce Societal Biases. Proceedings of the 2021 CHI Conference on Human Factors in Computing Systems. doi:https://doi.org/10.1145/3411764.3445161.

‌BBC Global (2020). How the media shapes the way we view the world - BBC REEL. [online] www.youtube.com. Available at: https://www.youtube.com/watch?v=kVAztNx0rHQ.

‌

[sonkusarenitesh]

Blog Post- 07

LGBTQ+ Representation in Video Games: A Shift Toward Inclusion?

We have seen the appearance of LGBTQ+ characters in media has been increased significantly over the past few decades, this change is mainly noticed in television, films, and literature. However, video games, which are considered a dominant cultural medium in the society have been lagging behind in presenting the LGBTQ+ characters with the same level of complexity and inclusion. In this post, I will aim to examine the slow pace of LGBTQ+ representation in video games.

LGBTQ+ Representation in Video Games: The GLAAD Survey Findings-

According to the 2024 GLAAD report on LGBTQ+ representation in media, video games continue to underperform in terms of diverse LGBTQ+ representation compared to film and television. While 2023 saw some progress in this area, with a growing number of LGBTQ+ characters in major game releases, the overall representation remains minimal, with many games still lacking meaningful LGBTQ+ storylines or characters (GLAAD, 2024). This disparity highlights a significant gap between the progressive trends seen in other media forms and the gaming industry’s approach to inclusion.

Challenges in Representing LGBTQ+ Characters Authentically in Video Games-

There are many reasons for slowing down the representation of LGBTQ+ in video games, from industry-wide-attitude to technical and economical challenges. One key factor is the culture of heterosexual characters going on for ages in the gaming community. Historically speaking, male, heterosexual audience is the main focus of video games and are marketed accordingly, as a result, many games rely more on traditional gender roles and relationships. LGBTQ+ characters have often been excluded due to the industry's heavily assumed theory about the audience's interest and preferences.

Another challenge is the lack of LGBTQ+ voices in the development process. As of 2020, there are only 4% of game developers identified as LGBTQ+ (Niemann, 2020). As majority of the people are heterosexual there is a lack of awareness of the importance of diverse characters and storylines. Even if there is an appearance of an LGBTQ+ character, they are often written from a heteronormative perspective, which results in shallow or stereotypical portray that do show the authenticity of the player.

Additionally, video games can be highly interactive, and the freedom given to players in shaping their own characters and stories adds more complexity to LGBTQ+ representation. Games that offer such customization, gives an opportunity to the community to be involved in the games, but also there is a huge risk of oversimplifying or not portraying the characters properly if not done thoughtfully. In such cases, developers must manage between the fine line between inclusive and exploitation, ensuring that LGBTQ+ characters are important to the plot and not just accessories to a larger narrative.

Evolving Narratives and the Cultural Impact of LGBTQ+ Characters-

Despite all these challenges, there is a gradual growth in the representation of LGBTQ+ characters in video games. This shift is possible because of the increasing number of LGBTQ+ gamers and the wide acceptance of the community is clearly notable. As these narratives evolve they provide a significant impact on social and cultural perspective of LGBTQ+ people.

For example, games like The Last of Us (2020) have received a positive response in their portrayal of LGBTQ+ characters, especially Ellie, who is openly lesbian. The game not only presents Ellie's sexual orientation as an important part of her character development but also avoids her being a stereotypical figure. Instead, Ellie is shown as a complex character, allowing players to connect with her struggle on a deeper level. This kind of representation can influence the thinking of players, particularly those who are not have an exposure to LGBTQ+ stories.

Similarly, games like Dragon Age: Inquisition (2014) and Mass Effect (2007) have shown LGBTQ+ relationships as a center part of their narratives, allowing players to explore queer identities by a gaming experience. These games not only provide a better understanding but also allow the players to shape their own stories and in ways that reflect their identities, making it a more inclusive and personal in terms of experience.

Wrap up-

In conclusion, while the representation of LGBTQ+ characters remains limited, there are signs of progress. As the gaming industry is getting more open to the idea of a diverse theme of characters, we can expect to see greater representation in mainstream titles. However, the challenges of authenticity, culture, and market pressures still become a huge barrier. It is important that the developers continue to engage with the LGBTQ+ narrative to understand the thoughtful and non-offensive portrayal.

As video games continue to evolve as a cultural form, their potential to shape perceptions of LGBTQ+ identities is immersive. By practicing more involvement with a diverse audience, the gaming industry can play a crucial role in challenging the stereotypes and promoting a more acceptance in the society.

Reference List-

GLAAD (2024). 2024 GLAAD Gaming Report: The State of LGBTQ Inclusion in Video Games | GLAAD. [online] glaad.org. Available at: https://glaad.org/glaad-gaming/2024/.

‌Allen, J. (2023). Is Ellie Gay in ‘The Last of Us’ Game? Explaining Her Sexuality. [online] Distractify. Available at: https://www.distractify.com/p/is-ellie-gay-in-the-last-of-us-game [Accessed 20 Dec. 2024].

Fac-dog (2021). Dragon Age Inquisition - Gay Love Romance No1. [online] YouTube. Available at: https://www.youtube.com/watch?v=fYZvLwAwp7U [Accessed 20 Dec. 2024].

‌Eri Gutiérrez (2021). Mass Effect ahora permite más relaciones LGBTQ+. [online] TierraGamer. Available at: https://tierragamer.com/noticias/mass-effect-amor-lgbt-mod/ [Accessed 20 Dec. 2024].

‌Mic. (n.d.). A new report shows how far the video game industry still has to go on diversity. [online] Available at: https://www.mic.com/impact/game-developers-conference-2020-report-reveals-developers-attitudes-on-diversity-in-the-industry-21745574.

[sonkusarenitesh]

Blog Post- 06

Exploring Vladimir Propp’s Narrative Functions and Character Types in Modern Media

Introduction-

Vladimir Propp, a Russian folklorist and scholar, identified a set of 31 narrative functions and 8 character types that appear in traditional folk tales. This transformed the way we understand narrative structure. In his book, Morphology of the Folktale (1928), he mentioned a pattern is shared between the folktales despite their cultural and regional diversity. Propp argued these patterns are not only essential for the development of the story but also to understand the role that character plays in moving the narrative forward.

While Propp's theories were initially applied to Russian folktales, his study has since become a powerful tool for analyzing stories across different mediums, from literature and films to video games. In this post, I will explore how Propp's study can be applied to contemporary narratives.

Propp's 31 Narrative Functions-

Propp's 31 narrative functions are described by a sequence of events that occur in the development of a folktale. These functions are often aligned with traditional storytelling and becoming the main element in the narrative. Some of the key functions include:

Initial Situation: The introduction of the hero and the setting.

Interdiction: The hero is warned against a particular action.

Violation of Interdiction: The hero disobeys the warning.

Donation: The hero receives a magical object or aid.

Combat: The hero faces the villain or antagonist.

Victory: The hero defeats the villain.

Return: The hero returns home, often bringing a reward or resolution.

These functions mostly follow a linear pattern, giving a support to many stories. They show how a narrative takes place from the initial situation to the hero's return, with specific functions making important turning points in the plot.

Propp's 8 Character Types-

Propp also identified 8 character types that appear in a story. Each one plays a specific role in the development of the narrative.

The Hero: The central figure of the narrative, typically tasked with overcoming a challenge.

The Villain: The antagonist, whose actions disrupt the normal order and create obstacles for the hero.

The Donor: A character who provides the hero with magical aid or advice.

The Helper: A character who assists the hero in their quest, often providing guidance or support.

The Princess: The object of the hero’s quest, often in need of rescue.

The Father: A character who may reward the hero for their success.

The Dispatcher: A figure who sends the hero on their quest, often by providing information or a task.

The False Hero: A character who initially appears to be a hero but ultimately fails or betrays the hero.

Applying Porpp's Framework in The Lion King (1994)-

In Disney's The Lion King (1994), Propp's functions can be clearly observed. The story follows the hero, Simba, who faces different challenges:

Departure: Simba is forced to leave his home after the death of his father, Mufasa.

Donor: Rafiki, the wise baboon, helps Simba discover his true destiny as king.

Combat: Simba confronts Scar, his uncle, who has taken over the Pride Lands.

Victory: Simba defeats Scar and takes his place as king.

Return: Simba returns to Pride Rock to restore balance to the kingdom.

Key characters from Propp's character types are also present:

The Hero: Simba, who must overcome personal and external challenges to fulfill his destiny.

The Villain: Scar, the antagonist who seeks power by murdering Mufasa.

The Donor: Rafiki, who helps Simba realize his potential.

The Princess: Nala, who supports Simba and serves as his love interest.

The False Hero: Scar, pretends to be the rightful ruler but is ultimately exposed.

Propp’s Framework in Harry Potter and the Sorcerer’s Stone (2001)-

Another example is Harry Potter and the Sorcerer’s Stone (2001), where Propp’s functions and character types can be applied to Harry’s journey:

Departure: Harry leaves his aunt and uncle’s home and starts on his journey to Hogwarts.

Donor: Hagrid serves as the donor, introducing Harry to the magical world and providing him with the necessary tools (such as his wand).

Combat: Harry faces the dark wizard Voldemort, who seeks to return to power.

Victory: Harry defeats Voldemort, preventing him from getting the Sorcerer's Stone.

Return: Harry returns to the safety of Hogwarts, having saved the day.

The character types are evident as well:

The Hero: Harry Potter, the orphaned boy destined to confront evil.

The Villain: Voldemort, the dark wizard who seeks immortality.

The Donor: Hagrid, who provides guidance and magical tools.

The Helper: Ron and Hermione, who assist Harry throughout his journey.

The Princess: In a broader sense, Hogwarts itself could be seen as the "princess," a symbol of a safe, magical world Harry must protect.

Wrap up-

Vladimir Propp's framework offers a powerful way to explore storytelling in different forms of media. The 31 narrative functions and 8 character types identified in his study of folk tales are helpful in modern films and stories, such as The Lion King and Harry Potter and the Sorcerer’s Stone. While contemporary stories grow and play with these elements, Propp's theory remains an important tool for understanding various structures of narratives.

Reference List-

Triano, R. (2021). Morphology of the Folktale by Vladimir Propp. [online] Pinterest. Available at: https://uk.pinterest.com/pin/412431278385690185/ [Accessed 19 Dec. 2024].

‌changingminds.org. (n.d.). Propp’s Morphology of the Folk Tale. [online] Available at: https://changingminds.org/disciplines/storytelling/plots/propp/propp.htm.

‌IMDb. (n.d.). The Lion King (1994). [online] Available at: https://www.imdb.com/title/tt0110357/mediaviewer/rm3272938240/?ref_=tt_ov_i.

‌IMDb. (n.d.). Harry Potter and the Sorcerer’s Stone (2001). [online] Available at: https://www.imdb.com/title/tt0241527/mediaviewer/rm2105413120/?ref_=tt_ov_i.‌

[sonkusarenitesh]

Blog Post- 5

Unveiling Hidden Messages: A Semiotic Analysis of a Luxury Car Advertisement

Introduction-

In media, meaning is not always obvious. Through semiotics, we can dive deep and understand the embedded meaning in advertisements, art, and other forms of communication. In this post, I will analyze a luxury car advertisement using Daniel Chandler's semiotic framework to reveal how meaning is created.

The Media Object: A Luxury Car Advertisement-

For this analysis, the media object that I chose is a print advertisement for a high-end luxury car brand. The ad features a sleek, metallic car parked in a vast, scenic landscape, focusing on the car's smooth curves and shiny exterior. The tagline reads. "Luxuriously Crafted. Consciously Engineered".

Signifiers and Signifieds: A Semiotic Breakdown-

According to Chandler (2007), semiotics is the study of signs, which is made up of the signifier (the form of the sign) and the signified (the concept the sign represents). In the advertisement, a deeper meaning is conveyed with the help of several signifiers.

The Car: Represents luxury, status, and modernity.

The Landscape: Implies freedom and escape, associating the car with adventure.

The Tagline: Suggests that the car is a symbol of technological advancement.

The Logo and Typeface: Create the brand’s identity as exclusive and aspirational.

Denotation vs. Connotation-

With the use of Chandler's (2007) concept of denotation and connotation, we can understand the lateral meaning of the advertisement.

Denotation: On the surface, the ad represents a luxury car in a scenic environment with a tagline that connects the car with the future. There are no visual hidden elements.

Connotation: A deeper meaning arises from the social aspect of the ad. As the car signifies more than just a product but it also stands for status, success, and a luxurious lifestyle. Thanks to its natural and futuristic imagery, it generates a connotation of high social class and technological superiority. These meanings are not immediately visible but socially and culturally constructed.

Wrap up-

This semiotic analysis shows how advertisements create meaning through a combination of visual elements, cultural associations, and social framing. Understanding these layers will help us engage with the media we consume and create.

Reference List-

Advert Gallery. (n.d.). Lexus Car Experience Amazing Luxuriously Crafted Consciously Engineered Ad. [online] Available at: https://www.advertgallery.com/newspaper/lexus-car-experience-amazing-luxuriously-crafted-consciously-engineered-ad/.

Chandler, D. (2001). Semiotics: the Basics. [online] Available at: https://r4.vlereader.com/Reader?ean=9780203014936 [Accessed 6 Jan. 2025].

‌Chandler, D. (2020) "Semiotics for Beginners: D.I.Y. Semiotic Analysis" [online] Available at: http://visual-memory.co.uk/daniel/Documents/S4B/sem12.html [Accessed 6 Jan. 2025].

‌

[sonkusarenitesh]

Blog Post- 04

Exploring Realism and the Influence of AI in Creative Practice

Introduction-

Realism in creative work is all about showing the world as it really is, without adding any personal stylized flair of style. André Bazin's essay, The Ontology of the Photographic Image (1960), explores this concept, especially when it comes to photography and film. Bazin argued that the power of photography lies in the ability to capture the world as it is, which is the core essence of his essay. However, as the rise of artificial intelligence (AI) and its influence on creativity, the definition of realism is starting to shift in many ways. In this blog, I'll take a closer look at the different ways realism is approached in creative work, see how it works, and understand how AI could influence the future of realism.

Versions and Strategies of Realism in Creative Work-

Bezin's idea that photography actually captures the "real" with accuracy is a fundamental principle of realism. He mentioned that photography preserves the subject's "truth" without the subjective interference of the artist. The evidence of this is clearly seen in films like The Rules of the Game (1939) and Citizen Kane (1941), where the directors Jean Renoir and Orson Welles give an immersive experience to the viewers by using techniques like deep focus and long takes.

With the rise of AI, realism is more of a crafted element in the creative work rather than that captured. In 3D animation, AI can now generate hyperrealistic images, copying real-world textures and physics (Price, 2024). This challenges traditional realism, changing the concept of "real" from object capture to computer-generated.

While traditional realism in cinema is still a major component of evoking empathy and engagement, AI-generated 3D models bring up new opportunities to blend reality with imagination.

Comparing Approaches: Traditional Film Realism vs. AI-Driven Realism in 3D Animation-

If needed to compare two approaches of realism, consider the deep focus in Citizen Kane versus the CGI used in Avatar: The Way of Water (2022). In Citizen Kane, depth and complexity are created using the deep focus technology that allows multiple planes of action to exist in a single frame. This technology follows Benzin's view of realism, showing the world as it is.

On the other hand, an entire ecosystem is created in Avatar using AI and CGI. This AI-driven realism is visually stunning and feels very polished, challenging the organic imperfections of traditional filmmaking.

Wrap up-

The constant change of realism in creative work is dependent on new technologies and changes in cultural views. Even though the idea of realism by Bazin in photography and film still matters, AI is influencing the concept of "real" for all. The traditional views of realism are simply challenged by the AI-generated 3D models and CGI that create photorealistic images. Due to technological advancement, it will become difficult to know the difference between what's "real" and what's "artificial", this will make the artist reconsider how they engage with realism.

Reference List-

Bazin, A. (2004) "What is Cinema?" 2nd ed [online] University of California Press. Available at: https://ebookcentral.proquest.com/lib/herts/reader.action?docID=1513946&ppg=1 [Accessed 6 Jan. 2025].

Beyzaa Yurtkuran (2024). Laptop Displaying Introductory ChatGPT Page · Free Stock Photo. [online] Pexels. Available at: https://www.pexels.com/photo/chatgpt-a-chatbot-for-your-website-16245254/.

‌IMDb. (2024). The Rules of the Game (1939). [online] Available at: https://www.imdb.com/title/tt0031885/mediaviewer/rm1989954560/?ref_=tt_ov_i [Accessed 19 Dec. 2024].

IMDb. (2024). Citizen Kane (1941). [online] Available at: https://www.imdb.com/title/tt0033467/mediaviewer/rm684416000/?ref_=tt_ov_i.

Blender (2018). The Next Leap: How A.I. will change the 3D industry - Andrew Price. YouTube. Available at: https://www.youtube.com/watch?v=FlgLxSLsYWQ [Accessed 15 Feb. 2021].

‌Galaxy Movie - Cinema News (2022). Avatar The Way of Water New Scenes Without CGI and VFX ! [online] YouTube. Available at: https://www.youtube.com/watch?v=XYnhbO8h7ig [Accessed 19 Dec. 2024].

‌

[sonkusarenitesh]

Blog Post- 03

Marvel’s Cinematic Universe: An Example of Transmedia Storytelling

The Marvel Cinematic Universe (MCU) is a prime example of transmedia storytelling, where a narrative expands across multiple media platforms, creating a rich and engaging experience. In this post, I will explore the key characteristics of the MCU that make it transmedia and also its use of multiple platforms, expanded narratives, fan interaction, and character/world-building.

Multiple Platforms: Cross-Media Experience-

The MCU spans different media platforms like films, TV shows, comics, video games, and social media. Each platform adds a layer to the story, as the films being the core narrative and shows like WandaVision and Loki expand the character's individual plot. Comics and video games provide additional context and depth, while social media keeps the audience intact with all the information. This cross-media approach allows the MCU to engage with the people in various ways, making the experience richer than if it were presented through just one medium.

Expanded Narrative: Enriching the Story-

The MCU cleverly uses the transmedia to enrich its narrative. For instance, Avangers: Infinity War (2018) and Endgame (2019) bring together a series of interconnected films, rewarding the viewers who have been following along for years. Meanwhile, TV shows like WandaVision offers a deeper understanding of the characters development, personal journey and emotional context that enhances a bigger picture. Additionally, comics play a key role by giving the readers a chance to dive deep into the character's past and presenting alternate realities that keep it full of possibilities.

Fan Interaction: Participatory Culture-

The MCU has built a huge interactive fan culture where fans play a huge role in shaping the narrative. Through fan fiction, online forums, and social media, fans create their own theories, content, and decisions that often influence the direction of a story. This sense of participation allows fans to feel like they are bing a part of the creative process, as MCU often listens to their ideas and incorporate them into the larger universe.

Character and World-Building: A Unified Universe-

The MCU excels at character and world-building. creating a universe that shares the characters and stories overlap across films, TV shows and other media. For example, Captain America’s evolution in films is expanded upon in the TV series The Falcon and the Winter Soldier, offering a complete understanding of the character. The MCU's interconnected storytelling makes the audience feel alive, with each story contributing to a larger narrative.

Conclusion-

The Marvel Cinematic Universe uses the power of transmedia storytelling, using multiple platforms, expanding narratives, and fan interaction to create an indulging and immersive experience. Henry Jenkins first discussed the concept of "transmedia storytelling" in his 2007 article titled "Transmedia Storytelling: Moving Beyond the Books", which the MCU successfully achieves by its interconnected universe.

Reference List-

Cinematic, M. (2024). Marvel Cinematic Universe. [online] Marvel Cinematic Universe Wiki. Available at: https://marvelcinematicuniverse.fandom.com/wiki/Marvel_Cinematic_Universe?file=Marvel_Cinematic_Universe.png [Accessed 19 Dec. 2024].

‌Paige, R. (2020). Marvel Studios’ ‘WandaVision’: New Poster Centers Wanda and Vision on our TV Screens. [online] Marvel.com. Available at: https://www.marvel.com/articles/tv-shows/wandavision-new-television-poster [Accessed 19 Dec. 2024].

Whatsondisneyplus.com. (2023). New Marvel’s ‘Loki’ Season 2 Poster Released. [online] Available at: https://whatsondisneyplus.com/new-marvels-loki-season-2-poster-released/ [Accessed 19 Dec. 2024].

‌hdqwalls. (2019). Avengers Infinity War And Endgame Poster Wallpaper,HD Superheroes Wallpapers,4k Wallpapers,Images,Backgrounds,Photos and Pictures. [online] Available at: https://hdqwalls.com/avengers-infinity-war-and-endgame-poster-wallpaper [Accessed 19 Dec. 2024].‌

Jenkins, H. (2007). Transmedia Storytelling 101. [online] Henry Jenkins. Available at: https://henryjenkins.org/blog/2007/03/transmedia_storytelling_101.html.

‌Jenkins, H. (2011). Transmedia 202: Further Reflections — Pop Junctions. [online] Henry Jenkins. Available at: https://henryjenkins.org/blog/2011/08/defining_transmedia_further_re.html.

[sonkusarenitesh]

Blog Post- 02

Can Media Objects be Total Works of Art? A Critical Analysis of Avatar (2009)

Introduction-

The concept of Gesamtkunstwerk, or "total work of art," refers to the combination of different types of art forms such as visual arts, music, literature, and performance. The film Avatar (2009) directed by James Camaron is a modern-day example of this idea in cinema. In this post, I will examine the film through the point of medium specificity and Gesamtkunstwerk, exploring how its use of different media enhances the narrative and viewer's experience.

Medium Specificity: The Role of 3D and Motion Capture-

The film makes essential use of 3D technology and motion-capture animation, which sets it apart from traditional filmmaking. The audience is indulged in the world of Pandora with a 3D medium, offering a visceral experience that a 2D medium could not achieve. As film solar Robert E Kapsis notes, 3D cinema “makes us see in a new way, while also shaping our perceptions of the world around us” (Kapsis, 2013), and this choice of technology is very important to make the emotional connection with the film's world and characters.

I Avatar had been made in 2D, it would have failed to give the spatial experience that 3D provides. The depth and texture of Pandora's landscape, along with the motion-capture performance of the Na'vi character, would not be able to have the same emotional impact without the specific technological choices.

The Impact of Changing Tools-

If the film had been created with a different tool, such as a graphic novel or 2D animation, it would have a very different impact. While the graphic novel gives a visual aesthetics of Pandora, it would not provide the same indulging experience. The visual effects and 3D technology were crucial to the film's success.

Reference List-

Kapsis, R.E. (2022) "Hitchcock: the Making of a Reputation" [online] Available at: https://www.google.co.uk/books/edition/Hitchcock/gypgEAAAQBAJ?gbpv=1 [Accessed 6 Jan. 2025].

www.avatar.com. (n.d.). Avatar - Official Site. [online] Available at: https://www.avatar.com/movies/avatar.

FilmAffinity. (2024). Image gallery for Avatar. [online] Available at: https://www.filmaffinity.com/us/movieimage.php?imageId=274956746 [Accessed 18 Dec. 2024].

[sonkusarenitesh]

Blog Post- 01

Traditional and Experimental Narratives in Films.

Narrative Structure is one of the important elements that gives a seamless storytelling flow in a cinema. While traditional films follow the framework of the 'three-act structure', experimental films often disrupts these methods. In this blog post, I will analyze the difference between traditional and experiments narrative structures in films, comparing how films like Casablanca (1942) and Donnie Darko (2001) illustrate these two approaches.

Key Feature of Traditional Narratives in Film-

Traditional narrative structure in film often follows a linear path of classic storytelling. Two of the most prominent styles of traditional storytelling are:

Cause and Effect Structure- Every event in the film has a cause that leads to an effect, creating a flow of continuous action that ends at a certain point.

Three Act Structure- In this the story get divided into three parts 'setup, confrontation and resolution' following a clear path with a beginning of a story, a middle and end.

The Three-Act Structure in Casablanca (1942)-

Hollywood's one of the most iconic films in its golden era, Casablanca (directed by Michael Curtiz), follows the traditional three-act structure. The film starts with the setup, in this key characters are introduced (Rick, Ilsa and Laszlo) and the setting is (Vichy-controlled Casablanca during World War 2). The middle act involves the confrontation, where Rick is seen struggling with his past relationship with Ilsa while going through the political challenges in the resistance. The resolution in the final phase reveals the self-sacrifice done by Rick to help Ilsa and Laszlo escape, creating the climax in his departure to continue the fight against the Nazis.

“The three-act structure is central to the Hollywood storytelling tradition, with its careful management of tension, release, and eventual resolution. This structure ensures that audiences experience a satisfying arc.” — David Bordwell, Narration in the Fiction Film (1985)

Experimental Cinema: Redefining Traditional Narrative Films-

In contrast to traditional storytelling, experimental films are more likely to challenge the viewer's outlook. These films often depend on visual storytelling and a nonlinear structure of narratives that mainly consider theme and atmosphere over classic progression.

Nonlinear Narrative in Donnie Darko (2001)-

Richard Kelly's Donnie Darko is the best example of an experimental film that challenges traditional narrative films. The film follows Donnie, a troubled teenager who experiences disturbing visuals of a man in a rabbit suit and has strange time-bending experiences. The plot takes a nonlinear path, with the moments that make it difficult to differentiate between reality and hallucination. It seems that the events in the film are not well connected at times, making it difficult for the viewers to keep a track of cause and effect relation.

Instead of relying on a clear progression, Donnie Darko gives a narrative where time travel, existential dilemmas and personal conflicts are connected together in a way that demands the audience's active attention. During the resolution of the film, the closing sequence gives a various parallel realities and paradoxes leaving multiple readings of the film's conclusion.

"Experimental films ask not only 'What happens next?' but 'What does this mean? How does this sequence relate to the rest of the narrative?'" — Laura Mulvey, Visual and Other Pleasures (1989)

Wrap up-

Both the Traditional and Experimental Narratives serve different purposes in cinema. Traditional films offer satisfying, emotional and well-connected storytelling experience by following the established narrative rules. On the other hand, experimental films challenge these ways providing a complex audience engagement. By examining the narrative structure of these films, one can better understand the power of storytelling in the cinema.

Reference List-

DaVinci Emporium. (2024). Casablanca 1942 3 Sheet Movie Poster Lithograph. [online] Available at: https://davinciemporium.com/casablanca-1942-3-sheet-movie-poster-lithograph/ [Accessed 18 Dec. 2024].

The Movie Database. (2024). The Movie Database. [online] Available at: https://www.themoviedb.org/movie/141-donnie-darko/images/posters?image_language=es [Accessed 18 Dec. 2024].

Bordwell, D. (1997) "Narration in the Fiction Film" [online] Available at: https://library.herts.ac.uk/cgi-bin/koha/opac-detail.pl?biblionumber=214446 [Accessed 6 Jan. 2025].

Mulvey, L. (1989) "Visual and Other Pleasures" [online] Available at: https://library.herts.ac.uk/cgi-bin/koha/opac-detail.pl?biblionumber=35837 [Accessed 6 Jan. 2025].