The aim of this thesis is to examine user experience and engagements in interactive cinema.A great deal of the research that is conducted today involves creating Interactive films, toexplore and examine film structures. In this study, we build on this research by comparingthree different Interactive film structures. To carry out our study, we have categorized threedifferent Interactive films after three different models to define their narrative structureand interface. To examine the experiences of those structures we have performed anexperiment where we have collected data from the three different sources; interviews,observations and surveys.It is difficult to draw conclusions about how an Interactive film should be constructed asdifferent structures apply to different narratives. Based on our research the conclusion canbe made that the combination between the narrative structure, the narrative content, theaesthetics, the implementation of interactivity and how the film?s interface is constructed ismore important than building a specific structure for an Interactive film.

This essay follows a Media Teacher in her work as a coordinator and an artistic leader for a European project called Legalopoli concerning laws and ethics in a senior level school for 13-16 year-olds in Mora, Sweden. The students write film stories about how their characters have to make choices in ethical dilemma situations. Then the learners create interactive computer games together through practical film work. At the same time we can see how the educator also gets into difficult ethical situations, when she is working with the students. This forces her to self-reflection.

A rhetorical analysis of the educational Interactive film ?Riskprofilen?, produced by the Swedish Civil Contingencies Agency (Swedish: Myndigheten för Samhällsskydd och Beredskap). This essay uses the theories and methods of Procedural Rhetoric, as described by Professor Ian Bogost, and Visual Rhetoric, as described by Professor Brigitte Mral to analyse the interactive and visual component parts of the artefact, and compares them to the intended purposes of the artefact as stated by documents pertaining to its creation, found to be those of educating the public; marketing the agency; and driving traffic to its webpage. The artefact is through analysis found to fulfil the purposes of marketing the Agency and of likely increasing traffic to the website upon which it is hosted. Regarding the primary, educational purpose this analysis finds that the artefact does not teach a user the accident-avoidance strategies it claims to do, but is dependent upon further materials..

Earlier research has shown that combining education with entertainment can improve students motivation in school. With this study we aim to learn more about interactive digital learning resources and how they should be designed to entertain and thereby contribute to motivation. We have identified aspects of educational games that also could be considered when developing interactive digital learning resources, to make them more entertaining and motivating. We have chosen to study and evaluate an interactive digital learning resource called ?Grasp the Disaster?, a fictional online adventure created for students in the ages between 13-15.

The aim of the study is to investigate how a teacher uses multimodal resources with an interactive whiteboard while teaching reading and writing. The aim is also to investigate what view the teacher has on using an interactive whiteboard while teaching reading and writing. Video-recorded observations and audio-recorded interviews are the methods used to collect data. The analysis was performed from a multimodal perspective and is also inspired by interaction analysis. The result of the analysis showed that the teacher uses several multimodal sign systems in combination with those found on the interactive whiteboard.

This report describes the work process to an interactive movie addressed to children with neurodevelopmental disabilities, where Jippieserien is the client. The aim is to explore how multimodal media can convey Jippieseriens message to children with neurodevelopmental disabilities and their parents, by taking the users needs into account.It is important to focus on the people who will use the system when designing interactive systems. This project is therefore using the designprocess human-centered design for interactive systems. The process includes four basic elements and provides guidelines for user-centered design. These parts are analysis, prototyping, implementation, and evaluation (Johansson.

This essay deals with children?s and adolescents? use of interactive media as a tool for doing relations with each other. The purpose is to increase the understanding of the impact interactive media has on pupils? relations and identity development both in school and on their spare time. The school system?s mission is not only to teach formal knowledge and facts but also to train children?s social skills and abilities.

The aim of this paper is to examine the American movie trailer particularly its history, marketing and functions, presented as an historical overview from the serials of the early 1910s to the trailers of today. A trailer from each decade of the twentieth- and twenty-first centuries is selected which represent typical trends and shows how trailers historically functioned, including their formal, generic differences.The introduction focuses on the market in which the trailer operates, and raises the issue of the entertainment value of art or marketing, how the film industry works and to role of advertising. The second part of the introduction focuses on the development of film stars, and their importance in trailer campaigns. This brings in the question of the growth of Hollywood and new media forms/technologies. The manner in which new media also create a new type of audience is considered, which demonstrates how the trailers capture audience attention in new ways.The second part of the paper focuses on the history of the trailer and examines typical structures, of the different periods.The third part analyses how different trailers operate, and how the trailer industry stands at the beginning of a new era, the so-called Post-interactive era, which is discussed with regard to Spider-Man 2 and The Da Vinci Code..

Ett Film som projekt, en film om ljud, en film om ljudet i film. En film inspelad professionellt med professionella medarbetare. Kandidatarbetet gick ut på både skapa en film inriktad på ljud och skapa ett fungerande filmteam. Arbetet tar upp både det tekniska inom filmljud men även processen i ett filmteam. I arbetet följer vi processen från dess början till dess slut.

This essay examines the narrative aspect of interactive fiction. The study uses Janet H. Murrays analysis of the digital environment and the properties of it as procedural, participatory, spatial and encyclopedic. From this, her three characteristic pleasures in digital narratives - immersion, agency and transformation - are examined from the perspective of interactive fiction. The study also examines Nick Montforts analysis of interactive fiction as a potential narrative and a simulated world or environment.

This paper investigates strategic opportunities for film festivals in a digital film business, with emphasis on Göteborg international film festival and the Swedish film industry. Using a theoretical framework of strategy analysis, the film value chain is examined with special regards to disruptive technology, and the film festival's unique resources are linked to industry structure. It is shown that relationships between actors and across sectors are crucial features of the film industry, and hence a network perspective is added to the theoretical framework. Barriers to entry are shown to be relatively low in all sectors except the cinema market, and it is proposed that film festival's could expand into digital distribution, taking advantage of brand strength, customer loyalty and knowledge of industry. The study adds to the mounting research on film festival practice and its significance for marketing and distribution in the film industry, and highlights the emergence of strategic openings in destabilized networks..

Lumilos is a work investigating the possibilities to use light and color in an interactive design context. I have explored different light sources and compared them to each other and given a short description of the history of light and how it has been developed during the industrialization in the western world. I have also investigated what is currently done in the field and summarized that with examples in the categories passive-, colored-, material- and interactive light. The conclusion is that working with interactive color and light is a hard task. There are many different angles to take into account such as personal likings and earlier experiences that is uncontrollable by the designer. Yet there are many possibilities and light is a material that is moldable in many forms. I have put the knowledge about light and color into practice and developed an interactive light wall that is visualizing energy consumption with the use of different colors of light and animations.

Ett Film som projekt, en film om ljud, en film om ljudet i film. En film inspelad professionellt med professionella medarbetare. Kandidatarbetet gick ut på både skapa en film inriktad på ljud och skapa ett fungerande filmteam. Arbetet tar upp både det tekniska inom filmljud men även processen i ett filmteam. I arbetet följer vi processen från dess början till dess slut.

This essay follows a Media Teacher in her work as a coordinator and an artistic leader for a European project called Legalopoli concerning laws and ethics in a senior level school for 13-16 year-olds in Mora, Sweden. The students write film stories about how their characters have to make choices in ethical dilemma situations. Then the learners create interactive computer games together through practical film work. At the same time we can see how the educator also gets into difficult ethical situations, when she is working with the students. This forces her to self-reflection.

Denna studie grundar sig på ett sociokulturellt perspektiv och syftar till att öka förståelsen för hur förskoleklasselever respektive pedagoger uppfattar tecknad film samt hur film kan användas som pedagogiskt verktyg. Jag har använt mig av en dramaturgisk analysmodel för att analysera den film som visats och därefter valt att genomföra intervjuer med elever och pedagoger för att fördjupa den kvalitativa ansatsen som denna studie har. Studien visar bland annat att elever och pedagoger fäster sig vid olika saker när de ser på film men också att de delar tankar kring att man kan lära sig något av att se på film. Studien visar dock att eleverna fortfarande saknar inblick i vad det innebär att se mer än bara det konkreta i en film, de djupare budskapen går dem förbi..