Possible Worlds
From Narratives to Hypernarratives:
Decentering the Subject in Digital film
Neill O'Dwyer
http://www.ncad.ie/faculties/visualculture/research/thoughtlines/no
dwyer.shtml
© 2005, The National College of Art and Design
Oor world is evolving into an information society whose focal point
will be the quality and content of information, rather than the
technology employed. Multimedia applications and the availability
of associated technology at a reasonable cost, combined with the
possibility of long-distance digital transmission, have thrown open
the doors of electronic media art and film-making to students,
amateurs and professionals from all around the globe. Not only do
the new networking technologies offer a wealth of creative and
artistic design possibilities, but they also allow the linkage, display
and transfer of electronic artforms - including video, cinema,
music, animation etc. This potential is confirmed by the Internet,
which is currently the largest global sphere of activity for creative
projects and applications. With the advent of this new medium
there are necessarily also new criteria. The interactive nature of
cybernetic systems, and the new technology at our disposal, have
symbolised, reified, replaced, and underscored the traditional
criteria for making and viewing art, with a new set.
We have reached another key point in the evolution of art,
comparable in importance to that of Modernism and the advent of
mechanical mass reproduction. Within cybernetic systems we will
find the potentialities to introduce a new dynamic idea of art and
take it away from the time-consuming enterprise of the sublime.
This is a very exciting and important time for the arts and we
should try to elicit the best out of these new developments. The
Arts need to embrace these developments with open arms. This is
not because of virtual reality and the like, nor merely to enable us
to digitise famous masterpieces, nor for the construction or
reconstruction of artworks. On the contrary, these developments
facilitate an ever-evolving process within the existence of the arts,
where everything is dynamic and kinetic, where the work of art is
processed rather than produced and the distinction between artist
and viewer is almost entirely fragmented.
Hypertexts and Hypernarratives
The Internet, with its absence of a primary axis and its infinite
network of websites, is an appropriate example of a hypertextual
system. A conventional text establishes a clear axis of
development along which the subject moves, from subtext to
subtext, in a linear pattern. On the Internet, which is a fully
developed hypertextual system, the subject enters at any point and
chooses any route through and about the network. The temporal
as well as textual beginning and end of the reading experience is
determined solely by the reader.
Cinema is a relatively new niche of the hypertext that is the
Internet, but already there are many established film distribution
databases. When cinema is produced and viewed in cyberspace,
the traditional criteria become underscored, reified, restated and
replaced by a new set, which has been mutated by this
postmodern hyperspace. In film, the conventional narrative
establishes a clear axis of linear development, and similarly, the
links between scenes are defined simply by virtue of the
juxtaposition of those scenes in the film. Viewing is also
straightforward, involving simple sequential development from one
scene to the next. Viewing a film on a hypertextual electronic
network, by the very nature of the network, facilitates and
encourages a kind of tangential development. One can jump
directly to any act or scene in the film, and then move from one
scene to another non-contiguous scene within the film, or to the
source of an allusion in an entirely different film, with remarkable
ease and speed.
When, in the near future, hypernarrational systems - particularly
those that integrate multiple works - become our dominant
allegorical vehicle, both the way we watch films and what we
understand film to be will be altered. films, short films, video art
and animations may no longer be conceived of as primary units.
Instead there will simply be a narrational network that one enters.
One watches whatever it is one wants to watch, and then exits at
whichever point one pleases. As the system expands and
individuals become more accustomed to watching films in
cyberspace, the sense of centrality of certain narratives within the
network will be weakened. The distinction between the narrative
and its context will dissolve, as will the distinction between
autonomous narratives because there will be, in fact, only one
narrative, one pastiche, a hypernarrative. 'Hypertext emphasises
that the marginal has as much to offer as does the central, in part
because the hypertext [redefines] the central by refusing to grant
centrality to anything, to any lexia, for more than the time a gaze
rests upon it' (Gaggi, 1997. p. 103).
There are radical implications for the subject in this kind of system.
The subject is designated a position of power in a way never
before possible, even in the most utopian scenario. In this
hypernarrative there is no clear route in or out, or a primary axis
through, and no co-ordinates or terminals that get priority over
others - except as the subject decides. The spectator is thrust back
into him or herself as a result of the lack of an authority or guide. In
spite of instructions clarifying how to move from one place to
another, there is no source of values or priorities that tell the
subject which path or direction should be chosen. From this
perspective, an empowerment of the spectator is suggested by the
development of hypernarratives. It is also possible for the subjects
to append their own responses and comments, add new nodes
and lexias to areas of particular interest, and create new links
between various lexias or narratives. In addition to this, it is
possible for anybody who has access to the Internet to exhibit their
work on it. Therefore, the distinction between artist and spectator
is attenuated, maybe even entirely dissolved. The narrative is no
longer a one-way system of communication, instead what has
evolved is 'a communication system in which all participants can
contribute to and affect the content and direction of the
conversation' (Gaggi, 1997. p. 103).
The subject views the film on a desktop computer at home, at
work, or in college. At any point during the narrative they can
branch out in a different direction, jump to a different scene, or
access information about the artist/production team, the production
studio, the background, the concept, allusions, and so forth.
Moreover, theme categories - comedy, tragedy, horror, sci-fi,
drama, and romance, for example - permit movement throughout
the hypernarrative among related but non-contiguous passages.
'Of course, to describe such passages as 'non-contiguous'
assumes the primacy of the original […] because only in that form
might any two passages necessarily be non-contiguous. In
hypertext, any two passages that can be linked are potentially
contiguous in any reading experience' (Gaggi, 1997. p. 104).
All these factors suggest an empowerment of the spectator.
Hypernarrative is a mode of narration that encourages creative,
active viewing, rather than passive consumption of what has been
produced by a conventional artist or producer. Hypernarratives
may be seen as a technological embodiment of the insights of
poststructural theory, which valorises modern and postmodern
narratives that are an anti-classical and allusionistic pastiche, thus
encouraging interactivity. This contrasts sharply with classic realist
narratives which are less demanding and encourage passivity. The
goal of visual artwork is to make the spectator no longer a
consumer, but a producer of the work. Classic visual art is
characterised by the pitiless divorce maintained by the institution
between the producer of the art and the spectator, between its
owner and its customer. The spectator is therefore plunged into a
kind of idleness, an obvious contrast to the activity encouraged by
hypernarratives.
However, despite the spectator's seeming empowerment and
control, the structure of movement in and around a hypertextual
system suggests a similar kind of decentering analogous to that in
other contemporary artforms. The hypernarrative has no centre, no
vanishing point, no clearly defined primary axis, and no clear
unitary authorial voice that, like in classic cinema, implies a clear
subject to which the narrative speaks. Thus the empowerment,
control, and the ability to make choices, which the reader seems to
have been allocated, may in fact be specious. 'The complexity of
the web and the possibility of having to make choices without
sufficient information regarding where any choice may lead can
result in a disorientation that precludes meaningful freedom'
(Gaggi, 1997. p. 105). The user risks becoming lost in the
hypertext as the digressions become more vigorous and the turns
become more frequent.
Digital Media and the Artist
Poststructural theory valorises modern and postmodern narratives
that are an anticlassical and allusionistic pastiche, it is therefore
clear to see how cybernetic systems facilitate and embody the
production and distribution of anti-classical and allusionistic
narratives. The only difference between these postmodern
narratives and cybernetic hypernarratives is that once a film is
digitised and loaded into the computer memory, any frame can be
accessed equally fast. Conventional film samples time, but still
preserves its linear ordering (subsequent moments of time become
subsequent frames), whereas digital media abandons this linear,
'human-centred', representation in order to place time fully under
control. 'Time is mapped on to a two-dimensional space, where it
can be managed, analysed and manipulated more easily' (ZKM,
1995. p. 154). Thus, allusion becomes an interactive experience
for viewer and producer alike by virtue of hypernarrational links,
contrary to the one way system of communication in classic
cinema.
The production techniques and technology now available provide a
platform for this narrational logic of late capitalist cinema, which
has the potential for the democratisation and liberation of cinema.
The availability of good quality, small digital cameras at reasonable
prices combined with cost-effective digital postproduction provides
a very low entry cost for aspiring filmmakers. In other words the
facility to create feature films is now readily available to many
students and amateurs, as well as the major entertainment
conglomerates wielding their hefty budgets. There is also a new
paradigm for established directors as a result of the practical
economics of making films in this way: they can now pursue
creatively innovative projects that might not have attracted
sufficient finance for production, if shot in the traditional manner.
As a result, there is an emergence of many more independent
films of a more diverse nature produced on the funds available. Of
course, there will always be a demand for big budget films which
attract mainstream audiences, and as a result, the short-term
effect will be a flooding of the market place with a confusing array
of low cost, innovative films from unknown film-makers and high
cost 'Event' movies from conventional and institutionalised
directors.
The independent sector will face a significant challenge as a result
of the situation described above. 'Independent distributors will find
it increasingly difficult to discover the hidden gems among the
larger number of independent films that will be on offer' (Marlow,
2000, p. 2). In a market dominated by multinational entertainment
conglomerates, independent filmmakers will find it increasingly
difficult to attract sufficient attention for their films. In response
independent filmmakers must strive to reach the positive benefits
more quickly by engaging with the issues and advancing the
process more swiftly. They must investigate the practical aspects
of the new production tools and modes of distribution, in order to
take full advantage of the cost savings which they can provide.
Cybernetic cinema seems to be the logical path for the
independent film-maker to take, thereby providing fresh marketing
initiatives and innovative new ways for their films to be viewed and
distributed. With the advent of broadband internet access to the
home market and digital projection in cinemas, film distribution, in
the next ten years will undergo significant changes, and the
independent sector in particular must now rise to the challenge of
attracting and maintaining that audience as loyal customers.
The big cinema chains, which are primarily products of 'Hollywood
whoredom', have relied too heavily on an unsustainable diet of
blockbuster 'Event' movies. In many key locations, they are
witnessing disappointing growth and in some cases audiences are
actually declining.
'Recent statistics published by Screen International show the
average Hollywood movie remains $26 million dollars in deficit
after its distribution to cinemas. The conclusion must be that the
cinema industry must make the retail experience they offer more
attractive and compelling to their customers offering more
uniqueness and diversity' (Marlow, 2000. p. 3).
The US film industry perceives e-cinema as a one-on-one
replacement for the existing film production, distribution and
exhibition operation. Its primary concern is to prevent the growth in
pirated audio-visual material and thereby protecting the status of
global hegemony. This however could be the downfall of the
Hollywood blockbuster and its lucrative industry. European
proponents, on the other hand, see e-cinema as a technology that
could open alternative channels of distribution for new types of
(primarily local) content, thereby tapping into larger audiences and
fresh revenue streams. It is clear from this evidence that the
potential of cybercinema is creating a rift between the US industry
on the one hand and the industry in Europe and the rest of the
world on the other.Therefore, if Hollywood maintains its current
attitude towards cinematic distribution and copyright - not to
mention the trash it produces - it faces a steady decline in
audiences as they are tempted by the improved options available
via digital technology in their own homes.
The development of high quality digital projection, broadband
services and hypernarratives will eventually transform the
exhibition sector, providing greater flexibility and lower costs in the
production and distribution of films. Obviously the distribution
release patterns will change accordingly.
'If properly managed this could lead to the establishment of a
new kind of Repertory Cinema, creating an environment for a more
diverse and customer friendly experience. This will be particularly
attractive to the important core of relatively cineliterate individuals
who represent a crucial audience for independent cinema'
(Marlow, 2000. p. 3).
Such an environment would vastly increase the range of films
available and therefore benefit the viewing public. The
independent sector needs to embrace this technological
breakthrough, which has made such an environment possible, and
plan and invest in order to be ready for such a utopian scenario. It
is not out of the question to imagine the quick establishment of a
strong local audience base around these digital 'Repertory
Cinemas', and the platform could be consolidated on a national
and international level through hypernarratives. Once the loyalty of
the important core audience has been established, a new and
expanding audience could be attracted by virtue of the interactive
experience encouraged within electronic networks and the
enhanced experience of digital cinema. It is in the best interests of
the independent filmmaker to embrace the technology at their
disposal, and to be innovative and imaginative in order to escalate
the move towards hypernarratives and digital projection - the future
health of independent cinema may rely upon it.
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