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Issued date: 2009-06-05

Publisher version: http:-underthemask.wikidot.com-local-files-papers-2009-Vicente%20Diaz%20Gandasegui.doc

Keywords: Videogames , Cinema , Spectators , Interactivity

Rights: Atribución-NoComercial-SinDerivadas 3.0 España

Abstract:Cinema and videogames are analogous audiovisual mediums that share the aim of entertaining the spectator-player and also reflect, in some sense, the beliefs, fears and value system of the society in which they were created. In the last few years both mediums hCinema and videogames are analogous audiovisual mediums that share the aim of entertaining the spectator-player and also reflect, in some sense, the beliefs, fears and value system of the society in which they were created. In the last few years both mediums have tended to converge, not only in their aesthetics and arguments, but also in their economic ambitions and conventions. Films have adopted the visual narrative of videogames as it is possible to observe in The Matrix Wachowski and Wachowski, 1999 and Run Lola Run Tykwer, 1998 and videogames are adopting cinematic narratives as in Grand Theft Auto and other First Person Shooter games. New technological and digital imagery is continually being discovered and investigated, and the concept of interactive and personalised films, in which every spectator will have their individual film ‘built’ to his requirements, is no longer science fiction. Therefore, if we wish to explore the future of cinema we should look to the videogames industries and the possibility of accessing virtual-alternative worlds where responsibilities are reduced to a minimum, boredom is eliminated and satisfaction maximised. Hybrid forms of films and videogames have been explored recently with the apparition of machinima, games that are recorded and dubbed, providing a new film language not restricted by the real world. The boundaries in the virtuality of the games and the future of the interaction in cinema become clear with the physicality of the interfaces, something that video consoles such as Wii are reducing with the virtual-real connection of the player and the avatar. Thus, the challenge for the future is to create a connection between technology and the nervous system as Cronenberg illustrated in eXistenZ 1999.+-

Description:Artículo presentado en la conferencia -Under the Mask: Perspectives on the gamer-. University of Bedforshire: 5th June 2009





Author: Diaz Gandasegui, Vicente

Source: http://e-archivo.uc3m.es


Teaser



Universidad Carlos III de Madrid Repositorio institucional e-Archivo http:--e-archivo.uc3m.es Área de Sociología DAS - SOC - Comunicaciones en Congresos y otros eventos 2009-06-05 Spectators of Videogames Diaz Gandasegui, Vicente http:--hdl.handle.net-10016-11281 Descargado de e-Archivo, repositorio institucional de la Universidad Carlos III de Madrid Spectators of videogames Vicente Diaz Gandasegui The complete title of this paper should be ‘spectators of videogames or players of cinema’.
Cinema today sometimes reflects a clear imitation of videogames aesthetics and videogames are reproducing many of the cinematic techniques that made films the connection between art and technology in the 20th century.
The audiences-players have also affected the convergence of both mediums.
If cinema provoked the evolution of videogames in a certain direction to meet the audience requirements in terms of image quality, narrative, camera perspective and character construction, then videogames are currently transforming the way in which some spectators watch films as untraditional camera angles and movements, colours, and film rhythms are demanded to produce a successful blockbuster film.1 1.
Watching videogames: how cinema influenced videogames By the end of the 1980s, videogames started to compete with cinema and television, to provide an alternative source of diegetic worlds, worlds that are seen on screen, which are an artificial production of image and sound, but ones with which the player could interact.
The influence of the old media has produced that today most of the 3D games, especially FPS videogames, used the conventions of classical Hollywood cinema (Wolf, 2002: 29-30).
This is something that radically contrasts with the origin of videogames; games such as Pac-Man (1980), Asteroids (1979) or Pong (1972) did not imitate a lens generated camera but tried to simply be efficient and practical in showing the content of the game.
Indeed, today, in FPS, sport, ac...





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