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<title>Interactive cinema</title>

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<span id="openzim-page-title" class="mw-page-title-main"><span class="mw-page-title-main">Interactive cinema</span></span>

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<p><b>Interactive cinema</b> tries to give an audience an active role in the showing of <a href="Movies" class="mw-redirect" title="Movies">movies</a>.

</p><p>Another newer definition of <a href="Interactive_film" title="Interactive film">interactive cinema</a> is a <a href="Video_game" title="Video game">video game</a> which is a hybrid between participation and viewing, giving the player – or viewer, as it were – a strong amount of control in the characters' decisions. It is compared to <a href="Interactive_film" title="Interactive film">interactive film</a>.

</p><p>This form of media recently has become more relevant. Companies like Netflix have even began coming out with releases that have this different way of consumption.

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<div class="mw-heading mw-heading2"><h2 id="History">History</h2></div>

<p>The earliest rudimentary examples of interactive cinema date back to the early 20th century, with "cinematic shooting gallery" games. They were similar to shooting gallery <a href="Carnival_games" class="mw-redirect" title="Carnival games">carnival games</a>, except that players shot at a cinema screen displaying film footage of targets. They showed footage of targets, and when a player shot the screen at the right time, it would trigger a mechanism that temporarily pauses the film and registers a point. The first successful example of such a game was <i>Life Targets</i>, released in the <a href="United_Kingdom" title="United Kingdom">United Kingdom</a> in 1912. Cinematic shooting gallery games enjoyed short-lived popularity in several parts of Britain during the 1910s, and often had <a href="Safari" title="Safari">safari</a> animals as targets, with footage recorded from <a href="British_Empire" title="British Empire">British imperial</a> colonies. Cinematic shooting gallery games declined some time after the 1910s.<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup>

</p><p>The 1967 <a href="Czechoslovakia" title="Czechoslovakia">Czechoslovak</a> film <i><a href="Kinoautomat" title="Kinoautomat">Kinoautomat</a></i> by the Czech director <a href="Rad%C3%BAz_%C4%8Cin%C4%8Dera" title="Radúz Činčera">Radúz Činčera</a> (presented in the Czech Pavilion at <a href="Expo_67" title="Expo 67">Expo 67</a> in <a href="Montreal" title="Montreal">Montreal</a>) is the first cinema-like interactive movie.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> The availability of <a href="Computer" title="Computer">computers</a> for the display of <a href="Interactive_video" title="Interactive video">interactive video</a> has made it easier to produce interactive movies.

</p><p>A prominent pioneer of interactive cinema games is the successful <a href="Hideo_Kojima" title="Hideo Kojima">Hideo Kojima</a> (1963–present), whose gameplay often takes a priority to the storyline and long cutscenes. His 1994 game <i><a href="Policenauts" title="Policenauts">Policenauts</a></i>, a point-and-click adventure game which has shootout sequences (that make use of the <a href="Lightgun" class="mw-redirect" title="Lightgun">lightgun</a> peripheral on the <a href="Sega_Saturn" title="Sega Saturn">Sega Saturn</a> version of the game), has a subtitle which reads "Interactive cinema" on the cover art of all versions of said game, which provides an early example of a prominent <a href="Video_game_developer" title="Video game developer">game-developer</a> labelling a game as such. In 1999 <a href="Sega" title="Sega">Sega</a>'s <i><a href="Shenmue" title="Shenmue">Shenmue</a></i> video game series won high praise for its implementation of interactive cinematic elements. Its designer <a href="Yu_Suzuki" title="Yu Suzuki">Yu Suzuki</a> stated that his goal "was to create a game that was intricate and lifelike by merging the cinematic qualities of movies and the interactivity of computer games".<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> A recent incarnation of an idea similar to this one is <i><a href="Fahrenheit_(2005_video_game)" title="Fahrenheit (2005 video game)">Fahrenheit</a></i> (censored version released in the US and Canada as <i>Indigo Prophecy</i>) – a game dubbed as "interactive cinema" by its France-based developer, <a href="Quantic_Dream" title="Quantic Dream">Quantic Dream</a>.

</p><p>The first American interactive film released in 1992, <i><a href="I'm_Your_Man_(1992_film)" title="I'm Your Man (1992 film)">I'm Your Man</a></i>. Certain <a href="Loews_Theatres" class="mw-redirect" title="Loews Theatres">Loews Theatres</a> locations retrofitted with controllers allowed audiences to vote on decisions made by the main character. Although initially touted as the first step toward <a href="Virtual-reality" class="mw-redirect" title="Virtual-reality">virtual-reality</a> cinema, the experiment proved a failure, the equipment was removed from theaters by 1994.

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<ul><li><a href="Cutscene" title="Cutscene">Cutscene</a></li>

<li><a href="Interactive_art" title="Interactive art">Interactive art</a></li>

<li><a href="Interaction_design" title="Interaction design">Interaction design</a></li>

<li><a href="Interactive_film" title="Interactive film">Interactive movie</a></li>

<li><a href="Interactive_video" title="Interactive video">Interactive video</a></li>

<li><a href="Laserdisc_video_game" class="mw-redirect" title="Laserdisc video game">Laserdisc video game</a></li>

<li><a href="Participatory_cinema" title="Participatory cinema">Participatory cinema</a></li>

<li><a href="Web_documentary" title="Web documentary">Web documentary</a></li></ul>

<div class="mw-heading mw-heading2"><h2 id="References">References</h2></div>

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</style><cite id="CITEREFCowan2018" class="citation journal cs1">Cowan, Michael (2018). "Interactive media and imperial subjects: Excavating the cinematic shooting gallery". <i>NECSUS. European Journal of Media Studies</i>. <b>7</b> (1): <span class="nowrap">17–</span>44. <a href="Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.25969%2Fmediarep%2F3438">10.25969/mediarep/3438</a>.</cite></span>

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<li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text"><cite id="CITEREFHales2005" class="citation journal cs1">Hales, Chris (1 January 2005). "Cinematic interaction: From kinoautomat to cause and effect". <i>Digital Creativity</i>. <b>16</b> (1): <span class="nowrap">54–</span>64. <a href="Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F14626260500147777">10.1080/14626260500147777</a>.</cite></span>

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<li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text"><cite id="CITEREFMoltenbrey2001" class="citation web cs1">Moltenbrey, Karen (2001-03-03). <a rel="nofollow" class="external text" href="http://www.cgw.com/Publications/CGW/2001/Volume-24-Issue-3-March-2001-/Gaming-gets-real.aspx">"Gaming gets real"</a>. cgw.com<span class="reference-accessdate">. Retrieved <span class="nowrap">2015-08-01</span></span>.</cite></span>

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