The Diagrammatic Screenplay: Strategies to Address the Challenges of Writing an Interactive, Mixed Reality Experience

Frankham, B

The Diagrammatic Screenplay: Strategies to Address the Challenges of Writing an Interactive, Mixed Reality Experience

Frankham, B

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Publisher:: Palgrave Macmillan Cham
Publication Type:: Chapter
Citation:: Screenwriting for Virtual Reality: Story, Space and Experience, 2024, First, Part F2584, pp. 155-178
Issue Date:: 2024-07-26

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Field	Value	Language
dc.contributor.author	Frankham, B https://orcid.org/0000-0002-7923-0364
dc.contributor.editor	Munt, A
dc.contributor.editor	Dooley, K
dc.date.accessioned	2024-09-02T05:57:29Z
dc.date.available	2024-09-02T05:57:29Z
dc.date.issued	2024-07-26
dc.identifier.citation	Screenwriting for Virtual Reality: Story, Space and Experience, 2024, First, Part F2584, pp. 155-178
dc.identifier.isbn	9783031540998
dc.identifier.uri	http://hdl.handle.net/10453/180590
dc.description.abstract	Screenplay formats for Virtual and Mixed Reality are not yet standardised. Innovations in screen production documents are frequently occurring alongside the project development process. This chapter focuses on the development of an interactive MR essay called In a Minor Key (IaMK). The significant body of work described as interactive factuals offers some models for writing interactive documentary VR and MR. However, writing interactivity is not the only challenge. With the filmic, frame-based Master Scene method proving inadequate to convey spatial, immersive and multimodal experiences, new strategies are required to write works predicated on interactants being able to move around in 3D environments containing sites of interaction that determine branching structures as well as setting out the placement of objects, sounds and features within the landscape and describing the environmental conditions. Through an examination of the writing and development process for IaMK, this chapter considers the conditions in play when writing an essayistic MR work as an experiential system. This analysis is part of an ongoing conversation about screenwriting for emerging forms that advocates going beyond set formats and encourages writers to apply a range of tools from adjacent disciplines to continue expanding the possibilities of what the medium can be.
dc.format.extent	13
dc.language	en
dc.publisher	Palgrave Macmillan Cham
dc.relation	University of Technology Sydney
dc.relation.ispartof	Screenwriting for Virtual Reality: Story, Space and Experience
dc.relation.ispartofseries	Palgrave Studies in Screenwriting
dc.relation.isbasedon	10.1007/978-3-031-54100-1_7
dc.rights	info:eu-repo/semantics/closedAccess
dc.title	The Diagrammatic Screenplay: Strategies to Address the Challenges of Writing an Interactive, Mixed Reality Experience
dc.type	Chapter
utslib.citation.volume	Part F2584
utslib.citation.edition	First
pubs.organisational-group	University of Technology Sydney
pubs.organisational-group	University of Technology Sydney/Faculty of Arts and Social Sciences
utslib.copyright.status	closed_access	*
pubs.consider-herdc	true
dc.date.updated	2024-09-02T05:57:27Z
pubs.edition	First
pubs.publication-status	Published online
pubs.volume	Part F2584

Abstract:

Screenplay formats for Virtual and Mixed Reality are not yet standardised. Innovations in screen production documents are frequently occurring alongside the project development process. This chapter focuses on the development of an interactive MR essay called In a Minor Key (IaMK). The significant body of work described as interactive factuals offers some models for writing interactive documentary VR and MR. However, writing interactivity is not the only challenge. With the filmic, frame-based Master Scene method proving inadequate to convey spatial, immersive and multimodal experiences, new strategies are required to write works predicated on interactants being able to move around in 3D environments containing sites of interaction that determine branching structures as well as setting out the placement of objects, sounds and features within the landscape and describing the environmental conditions. Through an examination of the writing and development process for IaMK, this chapter considers the conditions in play when writing an essayistic MR work as an experiential system. This analysis is part of an ongoing conversation about screenwriting for emerging forms that advocates going beyond set formats and encourages writers to apply a range of tools from adjacent disciplines to continue expanding the possibilities of what the medium can be.

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http://hdl.handle.net/10453/180590