ACM SIGCHI Bulletin
HyperCafe: narrative and aesthetic properties of hypervideo
Proceedings of the the seventh ACM conference on Hypertext
MULTIMEDIA '96 Proceedings of the fourth ACM international conference on Multimedia
Capturing experience: a matter of contextualising events
ETP '03 Proceedings of the 2003 ACM SIGMM workshop on Experiential telepresence
InterFace portraits: communicative-expressive interaction with a character's mind
Proceedings of the 1st ACM workshop on Story representation, mechanism and context
The flow principle in interactivity
Proceedings of the second Australasian conference on Interactive entertainment
The future of interactive drama
Proceedings of the second Australasian conference on Interactive entertainment
Media streaming synchronisation and video interaction: a survey
VIP '02 Selected papers from the 2002 Pan-Sydney workshop on Visualisation - Volume 22
Tri-Story as "intuitive cinema" interactive storytelling based on physical action for multi-screen
Proceedings of the 2005 ACM SIGCHI International Conference on Advances in computer entertainment technology
Live cinema: an instrument for cinema editing as a live performance
SIGGRAPH '04 ACM SIGGRAPH 2004 Sketches
Mutable cinema, a participatory narrative engine
Proceedings of the 2nd international conference on Digital interactive media in entertainment and arts
Proceedings of the 3rd international conference on Digital Interactive Media in Entertainment and Arts
Authoring, viewing, and generating hypervideo: An overview of Hyper-Hitchcock
ACM Transactions on Multimedia Computing, Communications, and Applications (TOMCCAP)
Lost cause, an interactive film project
MM '08 Proceedings of the 16th ACM international conference on Multimedia
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Interactive Filmmaking is both an aesthetic and technological challenge. Steerable plots, where audiences are not passive viewers but active participants of the narrative experience, require an engaging narrative model as well as a technologically feasible structure. This article discusses the connection between aesthetics, cinema, and interactivity and presents a model for interactive narration that is based on the audience's ability to read and interpret footage differently according to its context. Through a detour narrative model it is possible to engage audiences in a coconstructive hypermedia experience while at the same time minimizing the amount of footage required. An interface model that allows seamless hypervideo navigation through graphic interaction is also discussed, and the interactive short film The Crime or Revenge of Fernando Moreno is presented, along with user experience and usability studies that experimentally prove our hypothesis.