Insights about an interactive installation

Bruno Mendes da Silva, CIAC/UAlg, PT Mirian Tavares, CIAC/UAlg, PT Rui António, CIAC, UAlg, PT Susana Costa, CIAC/UAlg, PT Paula Monteiro, Art8, Macau, CN António Araujo, CIAC/UAb, PT

Abstract possibility to travel 1 through the

freeze-frame, getting closer to or The question of time and its relation moving away from each character. to cinema is the common thread in When the viewer 2 gets closer to a this paper. Through research based character he/she may select him/her. on experimental practice, this paper That choice results in a flashback, at explores, firstly, the psychosomatic most 24 hours, which leads up to the processes that may give the viewer frozen moment. By choosing the last different perceptions of time. character the viewer will unfreeze the Secondly, it describes the working opening scene, setting it in motion. process of a film that intends to Three scriptwriters 3 were invited to provide the viewer with the write the scripts. During the initial possibility of intervening in the film phase, the scriptwriters were not narrative in a disruptive way, aware of the other participants and seeking the possibility of subverting enjoyed full creative freedom over their the filmic discourse. character: each narrative would have to begin, at most, 24 hours earlier, and Keywords: Time, Interactivity, Film narrative, Surrealism. 1 The technical description of this possibility may be found in the section “Cadavre Exquis: the ”. Introduction 2 This is a film prepared to be viewed individually. Although it can be viewed by The opening scene of the film Cadavre several people simultaneously, only one of the viewers can interfere in the narrative Exquis is frozen (stopped in time). (the one who has control over the Three characters meet in the same interface). 3 Vitor Reia Batista, Coordinator of the Film room. However, the viewer (who Studies Lab at the Centre for Research in interferes in the narrative) has the Arts and Communication (CIAC), Miran Tavares, CIAC’s Coordinator, and Rui António, PhD student in Digital Media-Art at the University of Algarve and at Universidade Aberta. end in a room shared with two other Cinema and Surrealism characters. The first surrealist film is Germaine

Dulac’s La Coquille et le Clergyman. The film Cadavre Exquis, produced by The poet Antonin Artaud made the Paula Monteiro (Art8 MACAU), is part script and then rejected the film. He of the project The Forking Paths, had several motives, the main one which is avaible in an online platform was perhaps Germaine Dulac’s (oscaminhosquesebifurcam.ciac.pt) production, which failed to achieve the dedicated to interactive film poet’s vision: “He pensado que se experiments. In addition to other podía escribir un guión que no tuviera experiments, the platform includes the en cuenta el conocimiento y la ligazón produced for the project: The lógica de los hechos (...). Es decir, Book of the Dead (2015) and Haze 4 hasta qué punto este guión puede (2014). The project The Forking Paths asemejarse y emparentarse a la began in early 2013, at the Centre for mecánica de un sueño sin ser el Research in Arts and Communication mismo sueño, por ejemplo”.5 If Dulac (CIAC), Portugal. It was implemented did not fulfill Artaud’s ambition, Buñuel in the Film Studies Lab (LEF) and is and Dalí came very close with Un part of CIAC’s wider research Chien Andalou. “Creation of Digital Artifacts”. knowledge, namely through practice In 1965, during the celebrations of the and through the results of this practice. 40th anniversary of Surrealism (1924- The Forking Paths platform intends to 1964), which triggered exhibitions and bring together experimental interactive debates, the magazine Études films of different origins, genres and Cinématographiques published two formats that seek to develop volumes dedicated to surrealism, innovative connections between the specifically on its relation with cinema, spectator-user and the narrative. trying to clarify not only what surrealist Ultimately, this project, in particular the cinema was supposed to be, but also interactive film Cadavre Exquis, seeks what could be accounted for as for clues that may lead to possible surrealist in cinema. In general, when paths within the evolution of talking about cinema and vanguards, audiovisual language. with its manifestos and theories, there

is little information on a surrealist

4 Present at FILE, Electronic Language 5 Antonin Artaud. El cine. 4ª reimpressão. International Festival, 2015, São Paulo. Madrid, Alianza Editorial, 1995, pp 13-4. theory of cinema, or even on a Interactive film concrete movement that brought The evolution of the forms of together surrealist filmmakers and immersion in the history of cinema has cinema theorists. But the relationship contributed to a paradigm shift: the between the two is undeniable as are narrative thread does not have to be the many ways they have undergone linear and the doors to an effective through multiple interpenetrations. interaction between the narrative and What the studies and testimonials the viewer(s) are opened. Nowadays, published in this magazine do is try to experimental cinema and digital media reestablish the relation between use the most advanced technologies cinema and surrealism, not only as an as aesthetic strategies that seek to enchantment that the former exerted submerge the public, giving them the on the second and vice-versa, but also freedom to build the narrative, by by showing it is possible to speak of interacting with it. Like the first films of surrealist cinema. the Lumière Brothers, which emerged

as a form of entertainment, some of To question the relations between the earliest forms of audiovisual cinema and surrealism implies interactivity also took place at fairs and understanding everything envolving theme parks, where the viewer senses these relations, because, according to what is happening on the screen: Gianni Rondolino, the formulation vibration on the chair, water jets, between cinema and surrealism is among other features that allow us to “etica prima ancora che estetica alla engage other senses, besides our cui base era superamento della realtà sight, making the experience more quotidiana in una esperienza complete and more immersive, just as globale.”6 Thus, the basic concerns of Heilig idealized his Cinema of the surrealism, its ethical and moral Future. In the study on the effect of background, will lead the immersion in virtual art, Oliver Grau rapprochement between the states: “popular and spetacular surrealists and cinema, first as mere versions of virtual spaces existed as spectators. Soon after they started amusement park and fairground producing their own dreams attractions in the 1970s and 1980s, materializing them on the screens. particularly in the form of small

immersive circular cinemas” (GRAU,

6 Gianni Rondolino, “Cinema e surrealismo”, 2003), confirming the idea that most of in Studi sul surrealismo, Roma, Officina the inventors of audiovisual media Edizioni, 1977, pp. 375-403. were illusionists, whose interests were nevertheless he admits that it is a focused on entertainment shows for developing field and that we can still the masses. reach a of interactivity, where the Zielinski describes the early spectator-user can fully take on a role experiences at movie theatres as “a of both director and editor darkened room, where the spectators, (LUNENFELD, 2005). Manovich, in like Plato’s cavedwellers, are virtually turn, argues that interactive virtual held captive between the screen and worlds seem to be the logical the projection room, chained to their successors of cinema and, potentially, cinema seats, positioned between the the cultural motor of the twenty-first large-size rectangle on which the century, just as cinema was the fleeting illusions of motion appear cultural motor of the twentieth century devices that produce the images of (Manovich, 2011). darkness and light” (ZIELINSKI,1999). Against a certain degree of pessimism, According to Lev Manovich, several film projects have tried to computational technology has become apply interactivity in cinema, either at the new cultural motor in the last the stage of montage (transforming decades, allowing the reinvention of viewers into co-authors of the creative the media (MANOVICH, 2013). process) or at moments of bifurcation, However, according to Baudrillard where the viewer chooses the path to (BAUDRILLARD, 1997) 7 , an author follow, among two or more with a pessimistic view of new possibilities, or offering different technologies, interactivity with viewing options for the film narrative. machines does not exist, or at least Several are also those claiming the does not imply a real exchange. In title of “the first interactive film” in the other words, there is no interactivity history of cinema. One of the most when it comes to exchange: there is a successful projects is the certain interest in rivalry or domination Czechoslovakian film Kinoautomat – behind the interface. Lunenfeld also one man and his house, created in expresses some reservations about 1967 by Radúz Činčera, for the World interactivity, particularly regarding Expo in Montreal. In this film, the cinema. According to this author, the audience is asked (nine times) to experiments around interactive cinema choose one of two given possibilities have not yet been successful, to continue the narrative. At the first screening in Montreal, the process of 7 Here we safeguard chronological distances between theories. choice was mediated by an actor. interaction, this film lasted Several projects allow the viewer to approximately half an hour. The opt for one of two endings. This is the viewers were called upon to decide at case of the film Mr. Sardonicus, various points in the narrative, again, produced and directed by William by using a remote which was attached Castle, in 1961. Before the final scene to the chair. The film was not very well of the film, the viewers can vote using accepted by the critics, mainly due to a card they are given at the beginning, the absence of a plot, nevertheless it with two possible drawings, just as it marked an important step in the way happened in the Roman arenas, viewers experienced cinema, although where the gladiators fought to the experience itself has been entertain the audience: a thumb up considered by many more like playing and a thumb down, which allows them a videogame rather than watching a to choose whether the character film. Inspired by the work of William should be mercifully spared and live or Castle in the 1950s, John Waters used be punished and die 8. the Odorama in the films Pink I’m your man, directed by Bob Bejan, Flamingo (1972) and Polyester (1981): in 1992, also claims the title of first the audience members are given 10 interactive film in the history of cinema. numbered scratch cards that release Just as in previous projects, the scents. Having an important role in the viewers decided the unfolding of the narrative, these scratch cards must be narrative using interactive buttons sniffed as their number appears on the installed on their chairs. screen. In 2000, Berlin artist Florian Thalhofer 9 created the Korsakow Another film announced as “the first System 10 , an application that allows interactive film in the history of users without any programming cinema” was released in 1995, Mr. experience to build relatively complex Payback, written and directed by Bob non-linear interactive narrative Gale. Depending on the audience’s projects, which can later be viewed

8 According to John Waters the only end that 9 http://korsakow.org / was shown was the one where the character http://www.thalhofer.com should die, which raised some doubts 10 During some research to produce a among the critics regarding the existence of documentary on alcohol consumption, an alternative second ending: “Not realizing Florian Thalhofer learned about the how bloodthirsty audiences could be, Castle Korsakow Syndrome: a neurological process needlessly supplied every print with two that leads to the loss of recent memories endings, just in case. Unfortunately, not and to a compulsion to tell stories, frequent once did an audience grant mercy, so this among chronic alcoholics. It was based on one particular part of the film was never these experiences that he built the showed” (WATERS, 1983, p. 20). Korsakow System. online or on DVD/CD-ROM. In the process carried out by the viewer Korsakow System, the narratives are using the keyboard. The narrative is based on SNUs (smallest narrative generated by the database. According units) that have multiple points of to Manovich (2011), the database is contact between them. Thus, a K-film the counterpart of the traditional consists of a collection of SNUs with narrative form. The concept of FJ (film- multiple points of contact with each jockey)12 was created with this project. other. This system was widely The result of this work was published publicized in Amsterdam, namely by in 2005, in DVD, demonstrating the Mediamatic, a Center for Arts and New possibilities of the software when Technology, which allowed its wide applied to cinema. In the three films exploration, constantly testing the featured on the DVD, human boundaries between cinema and subjectivity and the choices made technology. The program is available through a custom software are for download (through paid licenses), combined to create movies that can be as well as tutorials that facilitate its rearranged endlessly, without ever use. This system allows users a new repeating the exact same narrative level of creativity in the context of sequences. Thus, in each viewing, the storytelling, raising the issue of spectator-user encounters a new “authorship” for debate, since the narrative. In addition to the DVD viewer is both author and user. release, the project has been widely exhibited in museums, galleries and Between 2002 and 2005, Lev festivals all over the world and has Manovich devoted himself to the served as the practical basis for development of the Soft Cinema 11 research on interactive cinema. project, a dynamic computer-oriented Switching: An Interactive Movie installation in which the viewers can, in (Morten Schødt, 2003) is a Danish film real time, build their own audiovisual that has the DVD as the main media. narrative from a database containing Its innovation is that there are no 4h of and , 3h of specific points to choose the path to narration and 5h of music. Although take, the narrative is structured around the montage technique can be found a circular system in which everything here, the intrigue in the narrative is repeats itself. The spectator-user can non-existent. The montage sequence intercede at any point in the film, results from a pre-programming moving to different times and places

11 http://manovich.net 12 http://www.softcinema.net/ within the narrative. The interface and take him/her from an extradiegetic to content are not divided, the movie an intradiegetic level. In 2012, Evan itself is the clickable object. Boehm and Nexus Interactive Arts create The Carp and the Seagull 15 an Late Fragment 13, from 2007, is a co- interactive 3D movie that takes production between the Canadian Film advantage of WebGL and HTML5 Center and the National Film Board of technologies. The film describes a tale Canada that offers an arborescent of the fisherman Masato, who one day structure where the spectator-user is encounters the spirit Yuli-Onna that able to choose different paths and gain appears to him in the shape of a new perspectives regarding the seagull. narrative by choosing which character he wants follow. In 2006, at the Hong Kong Disneyland theme park, Stitch live, a combination Later, in 2010, the horror film Last Call of digital puppetry, real-time animation of 13th Street, a television channel and holographic projection emerges specialising in horror films, was for the first time. In this show, which announved as the world’s first can now also be seen at Disneyland interactive horror film. Using a Paris and Tokyo Disneyland, the software that enables voice and virtual character talks directly with the command recognition, one of the guests with the help of a moderator. spectators present in the movie Children are encouraged to sit in the theater receives a phone call from the front row so that the virtual character protagonist asking him/her to help her can easily “see” them, facilitating the choose the best way to escape the communicative process between the serial killer who is chasing her. animated 3D character and the young Through this technology, the film spectators. becomes unique depending on the instructions of the person who In 2014, the film Possibilia 16 (2014) is answers the phone. released, directed by Daniel Kwan and

14 Take This Lollipop , directed in 2011 by Jason Zana, includes data and 15 thecarpandtheseagull.thecreatorsproject.co images of the spectator’s Facebook m 16 This film was produced with technology profile in the narrative as a strategy to of the digital media company Interlude, known for the recent interactive video clip 13 latefragment.com Like a Rolling Stone 14 www.takethislollipop.com (http://video.bobdylan.com/desktop.html). Daniel Scheinert (the DANIELS17). In These projects seem to fulfil this film, Rick and Pollie are in a Manovich’s predictions regarding the difficult separation process. Pollie is cinema of the future: “The typical preparing to move out and leave Rick. scenario for twentieth-first century He asks her to stay and they start a cinema involves a user represented as fight. The public is given the an avatar existing literally “inside” the opportunity to watch the argument narrative space, (…) interacting with between the characters through virtual characters and perhaps other different perspectives, offered by small users and affecting the course of the images (thumbnails) that are at the narrative events” (MANOVICH, 2011). bottom of the screen. The text remains However, recent examples of the same, however the perspective interactive film experiments, such as and the tone of the argument change Tobias Weber’s (2016), according to the spectator-user’s continue to adopt the same structure choices. Throughout the film, these used by the pioneering interactive small parallel images multiply films in the 1960s: an arborescent themselves, allowing the spectator to structure based on a simple and change the way the story is told, while occational choice made at certain maintaining the same argument. At the moments of the narrative, where the end, having exhausted all possibilities, spectator-user can choose path A or Pollie returnes to the door, leaving B. Rick alone, closing the film narrative at the point where it had begun. Cadavre Exquis: the screenplays of

the movie The project Circa 1948 (2014) 18 , by

Loc Dao, leads spectator-users on a If surrealists defended spontaneous virtual tour to different places in creation through the various Vancouver just as they were in 1948. techniques they proposed (such as This is achieved using projected automatic writing or Cadavre Exquis), images all over a room to surround the how could one speak of surrealist spectators. Their movements are cinema, since this degree of followed by kinetic technology. spontaneity is not possible in the

making of a film?19

19 Michel Beaujour in an essay entitled 17 http://www.danieldaniel.us/ “Surréalisme ou cinéma?” (Etudes 18 There is also a homonymous application Cinématographiques, 38-39, pp. 57-63), available for IOS. states: “Le cinéma, par essence, n’est pas un

We intend to come closer to the idea of surrealist film through a collective Cadavre Exquis: montage and and, in a way, unconscious process of interactivity script creation. As mentioned in the introduction, three scriptwriters were Just like the window that cut the man invited to create three narratives from Breton’s dream in two, so does based on a character who, at the end reality move across the body of artistic of the narrative (24 hours later, at creation: photography and cinema, most) would meet two other characters even in their most radical in a room. The scripts would form a manifestations, carry with them the succession of sub-narratives which, light imprint of some captured reality. just as in the Cadavre Exquis game, Cinema has quickly showed how it converge in the main narrative, transformed the reality that crossed it eventually ending up in a succession in very particular images. It evolved of unlikely scenes. A common opening using its own means. For some, such scene would be added: the scene of as André Malraux, a cut within a scene the three characters in the same room. was the debut of Cinematographic Art, i.e. the appearance of the montage It is hereby intended a connection to technique. The Montage technique is a the idea of automatism and to the topic where opinions both converge processes that govern the and diverge, but it is, undoubtedly, one unconscious: dream-condensation and of the main issues introduced by dream-displacement are not perceived cinema. at the time they occur; while we are dreaming we are not aware of the The montage technique enables the process. The following scripts resulted recreation of the structure of dreams, from this primary cause: allowing a circularity promoted by dream-condensations and dream-

displacements. In the specific case of art de spontanéité et d’improvisation. (...) l’homme à caméra est condamné à ne the film Cadavre Exquis, this potential pouvoir se passer du monde sensible, médiatisé par une machine et par une is amplified by the possibility the organisation sociale assez complexe.”. He viewer is given of interacting with the will also argue to what extent there was automatism in certain works of surrealist film, enabling a spontaneous creation painting. Breton will recognize some sort of process. The viewer’s choices make para-surrealism in more elaborate works by Miró or Dalí, distancing themselves from the movie happen. Random choices Max Ernst’s frottages by not accepting a purely irrational creation. that build and destroy a latent Cendrars and widespread by structure. surrealism, is a way of rétablir la continuité de la parole poétique. The The opening scene: three characters film is supposed to consist of a are in a room. A complete freeze- continuous movement of the word frame. The viewer is offered the (absence of punctuation) and the possibility of manipulating this film discontinuity of images. frame: using two commands the viewer may travel within the freeze- Cadavre Exquis: time frame. This movement within the freeze-frame allows the viewer to Philippe Soupault, in an interview with move in to a close-up or away from a Jean-Marie Mabire published in the close-up of each character. When a aforementioned volumes of Études character is displayed in a close-up, Cinématographiques, stated: “Le we can select him/her. The selection cinéma a été pour nous une immense of a character triggers a flashback that découverte, au moment où nous shows the viewer the character’s élaborions le surréalisme. (...) nous recent past. Finally, when the past of considérions alors le film comme un the three characters has been visited, merveilleux mode d’expression du the action is set in motion and we are rêve.”21 Cinema has a feature that will taken to the present, i.e. to the make Breton’s dream come true: the opening scene. possibility of fragmenting time, of showing past, present and future The sequencing of ideas in the film simultaneously. “(O tempo) é mutilado, does not obey a discursive logic, saqueado, aniquilado. O presente e o presenting itself as “une construction futuro não mais se contradizem. où on n’emploierait ni joints ni Vivemos hoje e amanhã, tão ciment”.20 Meaning and syntax diverge facilmente quanto hoje; vivemos até, often, causing a rupture in speech, simultaneamente, ontem e amanhã”.22 which is amplified even more by the Time23 in cinema was perfect for those very particular use of punctuation, to the extent of utterly suppressing it in 21 Pp. 29-33, n. 38-39. certain parts. For Bréchon, not using 22 André Breton apud Henri Agel. Op. cit., p.27. punctuation, a process he believes 23 The question of time in the cinema was one of the topics that most aroused the was created by Apollinaire and interest of Jean Epstein. He believed the concept of photogénie, developed by Louis Delluc, needed to be further developed, 20 Robert Bréchon, op. cit, pp.176-7. since “L’aspect photogénique d’un object est who wanted to bring out the structure consciousness are composed of of dreams. successive episodes of extended experience. Finally, in the Cinematic Barry Dainton (2010) summarizes the Model, immediate perception lacks different proposals of the structure of any temporal extension. The same temporal consciousness into three applies to the contents we are directly models: Retentional Model, conscious of, which somehow Extensional Model and Cinematic resemble photograms. The stream of Model. In the Retentional Model, the consciousness is thus composed of a experience of change and succession continuous succession of momentary occurs in episodes of consciousness, states of consciousnes, hence whose contents represent temporally resembling films that consist of frame extended intervals, despite the lack of sequences. temporal extension. These episodes have a complex structure and The idea of a freeze-frame (of the comprise the momentary phases of opening scene) is just that: a frame immediate experience as well as the with no sequence. However, in the film retentions of the recent past. The (Cadavre Exquis) the viewer can travel streams of consciousness are thus through the photogram 24 , giving it a composed of successions of these sequence: a possibility of a past and a momentary states. In the Extensional future, or better, a possibility of new Model, the episodes are themselves present frames taking place after or temporarily extended and are able to before the initial photogram. The aim incorporate changes. The streams of is to achieve a relaxation and a reconstruction of the idea of time in une résultante de ses variations dans cinema, where the relation between l’espace-temps.” (Jean Epstein apud Joël Magny, op. cit., p. 15). Therefore, Epstein space and time is overruled by an studied the processes related to duration eminently oneiric temporal dimension. and time extensively: “ralenti, accéleré, inversion de la chronologie, etc. C’est-à-dire à tout ce qui permet d’explorer dans la Implemention of the interactive film réalité des aspects invisibles à l’œil nu, et que le cinéma est seul à permettre de Cadavre Exquis was implemented as découvrir.” (Ibidem). As previously mentioned, in his text “Cinema and modern an interactive film in two ways: a web- literature”, Epstein analyzes the relation based version, controlled by the between them based on the premise of the time and the speed with which cinema and keyboard, and an installation, modern literature work with the images they created. The question of time in cinema 24 is also crucial for the surrealists, especially Using two commands, the viewer due to the possibility of manipulating time may travel within the freeze frame, offered by cinema. moving forward or backwards. controlled by motion detection. The common danger in all media that latter proved more interesting, as it mixes multiple arts – think of Operatic provided the opportunity to observe works, where librettist and composer, the public’s reaction, from which we scenery and costume so often derived some of the conclusions compete for attention rather than truly stated ahead. At the time of this writing blend into a powerful whole. Potency it has been twice presented to the of effect comes not as easily from public, once in the Literary Festival of blending the strength of multiple Macau, China, and once at FICLO aspects but from the singular focus on (Festival of cinema and literature) in a single one and a ruthless submission Olhão, Portugal, in March and April of of all others to a supporting role. The 2019 respectively. main lessons of art seldom change, even as they take new forms. Further, we cannot consider the interactive film Cadavre Exquis as Surrealist. There are a number of factors that detach it from this movement. First of all, the temporal distance to a movement which, like all Image 1: Still frame from Cadavre Exquis others, belongs to a certain time. The idea of production is, in itself, a factor

Conclusion of differentiation from the surrealist intentions. The whole pre-production, Apart from minor technical aspects, production and post-production the main lesson we take from these process of a film is necessarily two presentations of the work is that rationalized and planned in detail, thus the existence of an interactive aspect being an antipode to surrealist to the film tended to make that aspect techniques. The very idea of film dominant in the mind of the viewer, interactivity may be regarded as an and provoque a break of expectations intolerable artificiality, but, at the same if interaction was not constant: some time, as a catalyst to the idea of of the viewers suddenly expected a collective creation, due not only to the game of sorts rather than a film. possibility of coauthorship offered to Hence, such interactive aspects must the viewer, but also to the freedom be handled with extreme care so as he/she is given to deconstruct the not to hinder the fruition of the film as filmic structure at any time. an object of art. This is however a Actually, the idea of Cadavre Exquis as unconscious associations of Bibliography collective ideas, free of a pre- Artaud, Antonin. 1995. El cine. 4ª established order, imputes a certain reimpressão. Madrid : Alianza Editor. subversion of the conventional filmic Beaujour, Michel, 1965. “Surréalisme discourse to the interactive film. ou cinéma?” Etudes Cinématographiques, pp. 38-39, 1º However, the question remains, trimestre. whether or not there was, in fact, a Breton, André. 1972. Manifestes du pure surrealist technique in all surréalisme. Paris: Gallimard. surrealist art forms. Breton himself Duplessis, Yvonne. 1983. O recognizes how hard it is to reach the Surrealismo. Lisboa: Inquérito. second states so desired by the Dupuis, Jules François. 1979. História surrealists. Truly automatic writing, desenvolta do surrealismo. Lisboa: games, or art in general was a utopia. Antígona. With temporal distance in mind, Breton LE POIDEVIN, Robin. 2015. makes very lucid reflections that prove ‘Perception and Time’, in Mohan the impossibility of allowing himself to Matthen (ed.), Oxford Handbook of the Philosophy of Perception, Oxford: be totally controlled by automatism in Wiley-Blackwell. the act of creation. He also LUNENFELD, P. 2005. “Os mitos do acknowledges that even those who cinema interativo”. In LEÃO, Lúcia used the above-mentioned techniques (org.). O chip e o caleidoscópio: reflexões sobre as novas mídias. São to produce a poem later selected the Paulo: SENAC. passages they considered to be the Manovich, L. 2013. Software takes most literary accurate. command. New York: Bloomsbury.

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