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Extended Narratives in Egypt: The Book of Going Forth by Day
Extended narratives in electronic literature often take place in a "setting" or series of landscapes that might be real or imaginary. In my work, I have often chosen a template from a "real" landscape (California, Egypt) as not only a narrative story feature but also as a part of the navigation system. In *Egypt: The Book of Going Forth by Day* the reader is encouraged to become familiar with a "screen" landscape that is schematic map, navigation tool and "register" for multiple points of view. In order to "map" these fields, the early reader is introduced to areas of the screen which recall the conventional organization of ancient tomb paintings and manuscripts and also correspond to land, river, and sky. Each of these areas is also linked to aspects of the narrative voice. Thus, the imaginary landscape is mapped in the storyline, the screen organization, and the navigation.
Scott Rettberg - 09.01.2013 - 12:00
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Landscape (Re)-Visioned
Landscape is an integral part of our experience of the moving image. The cinematic landscape can become a protagonist in its own right, imposing its own visceral visual force on the story. Television was long denied this possibility, but new technologies such as high-definition standards and large flat-panel display allow video to embrace the cinematic wideshot and the transcendent landscape. Digital post-production capabilities give moving image artists deep control over this landscape. It develops a plasticity that reflects the artist's goals—either to reflect our own landscapes, or those of a different storyworld drawn from the artist's creativity.
(Source: Author's abstract, 2008 ELO Conference)
Scott Rettberg - 09.01.2013 - 14:06
