Products related to Interactive:
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Screening Characters : Theories of Character in Film, Television, and Interactive Media
Characters are central to our experiences of screened fictions and invite a host of questions.The contributors to Screening Characters draw on archival material, interviews, philosophical inquiry, and conceptual analysis in order to give new, thought-provoking answers to these queries.Providing multifaceted accounts of the nature of screen characters, contributions are organized around a series of important subjects, including issues of class, race, ethics, and generic types as they are encountered in moving image media.These topics, in turn, are personified by such memorable figures as Cary Grant, Jon Hamm, Audrey Hepburn, and Seul-gi Kim, in addition to avatars, online personalities, animated characters, and the ensembles of shows such as The Sopranos, Mad Men, and Breaking Bad.
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Interactive Digital Television : Technologies and Applications
Presents the developments in the domain of interactive digital television covering both technical and business aspects.This work focuses on analyzing concepts, research issues, and methodological approaches, offering solutions such as systems and prototypes.
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Fictional Practices of Spirituality I : Interactive Media
»Fictional Practices of Spirituality« provides critical insight into the implementation of belief, mysticism, religion, and spirituality into worlds of fiction, be it interactive or non-interactive.This first volume focuses on interactive, virtual worlds - may that be the digital realms of video games and VR applications or the imaginary spaces of life action role-playing and soul-searching practices.It features analyses of spirituality as gameplay facilitator, sacred spaces and architecture in video game geography, religion in video games and spiritual acts and their dramaturgic function in video games, tabletop, or LARP, among other topics.The contributors offer a first-time ever comprehensive overview of play-rites as spiritual incentives and playful spirituality in various medial incarnations.
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Digital Storytelling 4e : A creator's guide to interactive entertainment
This fourth edition of Digital Storytelling: A creator's guide to interactive entertainment dives deeply into the world of interactive storytelling, a form of storytelling made possible by digital media.Carolyn Handler Miller covers both the basics – character development, structure and the use of interactivity – and the more advanced topics, such as AI (Artificial Intelligence), narratives using AR and VR, and Social Media storytelling.The fourth edition also includes a greatly expanded section on immersive media, with chapters on the exciting new world of the world of XR (AR, VR, and mixed reality), plus immersion via large screens, escape rooms and new kinds of theme park experiences.This edition covers all viable forms of New Media, from video games to interactive documentaries.With numerous case studies that delve into the processes and challenges of developing works of interactive narrative, this new edition illustrates the creative possibilities of digital storytelling.The book goes beyond using digital media for entertainment and covers its employment for education, training, information and promotion, featuring interviews with some of the industry’s biggest names. Key Features: A large new section covering various forms of immersive media, including VR, AR and Mixed Reality Breakthroughs in interactive TV and Cinema The use of VR, AR and mixed reality in gaming New forms of voice-enabled storytelling and gaming Stories told via mobile apps and social media Developing Digital Storytelling for different types of audiences
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What is the difference between an interactive movie and interactive television?
An interactive movie is a film that allows the viewer to make choices that affect the storyline and outcome, often through the use of branching narratives or decision points. Interactive television, on the other hand, refers to TV shows or programs that incorporate interactive elements, such as allowing viewers to vote on outcomes or participate in live polls. While both interactive movies and interactive television involve viewer engagement, the main difference lies in the medium - one is a film, while the other is a television program.
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Do you like interactive movies?
As an AI, I don't have personal preferences, but interactive movies can be a fun and engaging way to experience a story. The ability to make choices that impact the outcome of the story can make the viewing experience more immersive and interactive. It also allows for multiple viewings with different outcomes, adding to the rewatch value of the movie.
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What are interactive and passive media?
Interactive media refers to content that allows the user to actively engage with it, such as through clicking, dragging, or typing. This type of media requires the user to participate and make choices, leading to a more personalized and engaging experience. On the other hand, passive media refers to content that is consumed without any active participation from the user, such as watching a movie or reading a book. Passive media does not require the user to interact with the content in order to consume it.
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What is the difference between an interactive and a non-interactive shell?
An interactive shell is a command-line interface that allows the user to interact with the system by entering commands and receiving immediate feedback. It is typically used for real-time interaction with the system, such as running commands, navigating directories, and managing files. On the other hand, a non-interactive shell is typically used for running scripts or batch processing, where the user does not need to interact with the system in real-time. Non-interactive shells do not provide a prompt for user input and are often used for automated tasks or background processing.
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Writing for Interactive Media : Social Media, Websites, Applications, e-Learning, Games
This thoroughly revised fourth edition teaches students and professionals how to create interactive content for all types of new media and become successful writers or designers in a variety of fields. This comprehensive guide is grounded in the core principles and skills of interactive media writing, in which writers create text and structure content to guide users through interactive products such as websites or software.The book examines case studies on interactive formats including complex informational websites, computer games, e-learning courses, training programs, and immersive exhibits.These case studies assess real-world products and documentation used by professional writers such as scripts, outlines, screenshots, and flowcharts.The book also provides practical advice on how to use interactive media writing skills to advance careers in the social media, technical, instructional communication, and creative media fields.This edition includes new chapters on UX Writing and Content Design, Social Media Writing, and Writing for Mobile. Writing for Interactive Media prepares students for the writing challenges of today’s technology and media.It can be used as a core textbook for courses in UX Writing, Writing for Digital Media, and Technical and Professional Communication and is a valuable resource for writing professionals at all levels. Supplemental resources include a sample syllabus, class assignments, student exercises, scripts, outlines, flowcharts, and other interactive writing samples.They are available online at www.routledge.com/9781032554242
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Interactive Cinema : The Ambiguous Ethics of Media Participation
Connecting interactive cinema to media ethics and global citizenship Interactive Cinema explores various cinematic practices that work to transform what is often seen as a primarily receptive activity into a participatory, multimedia experience.Surveying a multitude of unorthodox approaches throughout the history of motion pictures, Marina Hassapopoulou offers insight into a range of largely ephemeral and site-specific projects that consciously assimilate viewers into their production. Analyzing examples of early cinema, Hollywood B movies, museum and gallery installations, virtual-reality experiments, and experimental web-based works, Hassapopoulou travels across numerous platforms, highlighting a diverse array of strategies that attempt to unsettle the allegedly passive spectatorship of traditional cinema.Through an exploration of these radically inventive approaches to the medium, many of which emerged out of sociopolitical crises and periods of historical transition, she works to expand notions of interactivity by considering it in both technological and phenomenological terms. Deliberately revising and expanding Eurocentric scholarship to propose a much broader, transnational scope, the book emphasizes the ethical dimensions of interactive media and their links to larger considerations around community building, citizenship, and democracy.By combining cutting-edge theory with updated conventional film studies methodologies, Interactive Cinema presses at the conceptual limits of cinema and offers an essential road map to the rapidly evolving landscape of contemporary media.
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Push the Button : Interactive Television and Collaborative Journalism in Japan
In Push the Button, Elizabeth Rodwell follows a battle over what interactivity will mean for Japanese television, as major media conglomerates took on independent media professionals developing interactive forms from new media.Rodwell argues that at the dawn of a potentially transformative moment in television history, content conservatism has triumphed over technological innovation.Despite the ambition and idealism of Japanese TV professionals and independent journalists, corporate media worked to squelch interactive broadcast projects such as smartphone-playable television and live-streamed and open press conferences before they caught on.Instead, interactive programming in the hands of major TV networks retained the structure and qualities of most other television and maintained conventional barriers between audiences and the actual space of broadcast.Despite their lack of success, the innovators behind these experiments nonetheless sought to expand the possibilities for mass media, national identity, and open journalism.
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Working with Sound : The Future of Audio Work in Interactive Entertainment
Working with Sound is an exploration of the ever-changing working practices of audio development in the era of hybrid collaboration in the games industry.Through learnings from the pre-pandemic remote and isolated worlds of audio work, sound designers, composers, and dialogue designers find themselves equipped uniquely to thrive in the hybrid, remote, and studio-based realms of today’s fast-evolving working landscapes.With unique insights into navigating the worlds of isolation and collaboration, this book explores ways of thinking and working in this world, equipping the reader with inspiration to sustainably tackle the many stages of the development process.Working with Sound is an essential guide for professionals working in dynamic audio teams of all sizes, as well as the designers, producers, artists, animators, and programmers who collaborate closely with their colleagues working on game audio and sound.
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Should I study Interactive Media or Communication Design at Augsburg University?
The decision between studying Interactive Media or Communication Design at Augsburg University depends on your interests and career goals. If you are interested in creating digital experiences, user interfaces, and interactive technologies, then Interactive Media may be the better choice for you. On the other hand, if you are more interested in visual communication, branding, and design strategy, then Communication Design may be a better fit. Consider your strengths, interests, and long-term career aspirations to make an informed decision. Additionally, you may want to research the specific curriculum, faculty, and resources available for each program at Augsburg University to help inform your decision.
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How does Apple implement interactive websites?
Apple implements interactive websites by using a combination of HTML, CSS, and JavaScript to create dynamic and engaging user experiences. They utilize responsive design to ensure that their websites work seamlessly across different devices and screen sizes. Additionally, Apple incorporates interactive elements such as animations, sliders, and interactive forms to enhance user engagement. They also prioritize accessibility and usability to ensure that their websites are easy to navigate and interact with for all users.
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How to program interactive network graphs?
To program interactive network graphs, you can use libraries such as D3.js, vis.js, or networkx in Python. These libraries provide tools for creating and customizing network graphs, as well as adding interactive features such as zooming, panning, and tooltips. You can also use HTML, CSS, and JavaScript to create interactive elements and behaviors for the network graph. Additionally, you can utilize data visualization platforms like Tableau or Power BI to create interactive network graphs with drag-and-drop functionality.
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How can one create an interactive website?
To create an interactive website, one can start by planning the website layout and design with user engagement in mind. Incorporating features such as buttons, forms, sliders, and interactive elements like quizzes or games can make the website more engaging. Utilizing technologies like HTML, CSS, and JavaScript can help in creating dynamic and interactive elements on the website. Additionally, integrating social media plugins, chatbots, and feedback forms can enhance user interaction and overall user experience on the website.
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