{"text_format":"5","workbook":"xls","n_sheets":1,"sheets":["report2"],"props":{"last_modified_by":"sharecat"},"not_rendered":{"external_links":1,"defined_names":1},"read":"whole","date_system":"1900","formulas":"cached_only"}

{"sheet":"report2","index":0,"n_rows":20,"n_cols":5,"rows_kept":20,"merged":[[0,2,0,3],[0,4,0,5],[1,2,1,3],[1,4,1,5],[2,2,2,3],[2,4,2,5],[3,2,3,3],[4,2,4,3],[6,2,6,3],[7,2,7,3],[8,2,8,3],[9,2,9,3],[13,2,13,3],[14,2,14,3],[18,2,18,3]],"flags":["formulas_cached_only"]}
[null,"1.","Record Nr.",null,"UNINA9910453850603321"]
[null,null,"Autore",null,"Ben-Shaul Nitzan S"]
[null,null,"Titolo",null,"Hyper-narrative interactive cinema [[electronic resource] ] : problems and solutions / / Nitzan Ben Shaul"]
[null,null,"Pubbl/distr/stampa",null,"Amsterdam ; ; New York, : Rodopi, 2008"]
[null,null,"ISBN",null,"94-012-0629-5"]
[{"$nulls":4},"1-4356-7772-2"]
[null,null,"Descrizione fisica",null,"1 online resource (96 p.)"]
[null,null,"Collana",null,"Consciousness, literature & the arts ; ; 18"]
[null,null,"Disciplina",null,"791.433"]
[null,null,"Soggetti",null,"Motion pictures - Plots, themes, etc"]
[{"$nulls":4},"Interactive art"]
[{"$nulls":4},"Experimental films - History and criticism"]
[{"$nulls":4},"Electronic books."]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[{"$nulls":3},"Livello bibliografico","Monografia"]
[{"$nulls":3},"Note generali","Description based upon print version of record."]
[{"$nulls":3},"Nota di bibliografia","Includes bibliographical references (p. [87]-90) and indexes."]
[null,null,"Nota di contenuto",null,"Preliminary Material -- Introduction -- Hyper-Narratives -- Interaction -- Audiovisuality and Interfacing -- Engaging Hyper-narrative Interactive Cinema -- Bibliography -- Index of Names and Titles -- Index of Topics."]
[{"$nulls":3},"Sommario/riassunto","Hyper narrative interactive cinema refers to the possibility for users or “interactors” to shift at different points in an evolving film narrative to other film narrative trajectories. Such works have resulted so far in interactor distraction rather than sustained engagement. Contrary to post-modern textual and cognitive presumptions, film immersion and computer game theories, this study uses dual coding theory, cognitive load theory, and constructivist narrative film theory to claim that interactive hyper-narrative distraction results from cognitive and behavioral multi-tasking, which lead to split attention problems that cannot be cognitively handled. Focus is upon split attention resulting from the non-critical use of de-centered and non-cohering hyper-narrative and audio-visual formations, and from interaction. For hyper-narrative interactive cinema to sustain deep engagement, multi-tasking split attention problems inhering in such computer-based works have to be managed, and – most importantly - made to enhance rather than reduce engagement. This book outlines some viable solutions to construct deep cognitive-emotional engagement of interactors with hyper-narrative interactive cinema."]