Laura Sava’s Theatre Through the Camera Eye: The Poetics of an Intermedial Encounter (Edinburgh University Press, 2019) is invaluable tool for Interarts Studies. book focuses on intermedial relationship between theater and cinema, exemplified through a corpus thirteen metafilms (i.e., about art cinema).

Stereoscopic cinema has seen a surge of activity in recent years, and for the first time all of the major Hollywood studios released 3-D movies in 2009. This is happening alongside the adoption of 3-D technology for sports broadcasting, and the arrival of 3-D TVs for the home. Two previous attempts to introduce 3-D cinema in the 1950s and the 1980s failed because the contemporary technology was...

The process for requirements elicitation has traditionally been based on textual descriptions or graphical models using UML. While these may have worked for the design of desktop-based systems, we argue, that these notations are not adequate for a dialog with mobile end users, in particular for end users in “blue collar” application domains. We propose an alternative modelling technique “Softwa...

What is the relationship between computer games and cinema? Spin-off games based on major fi lm franchises are common, especially in genres such as science fi ction, action-adventure and horror. Some games have also made the transition to the big screen, none more prominently than the Tomb Raider series in Lara Croft: Tomb Raider (2001). The potential benefi ts of such tieins are apparent at th...

Interactive narratives designed for television and cinema demands new interaction mechanisms. In the TV context, thousands of viewers sharing the same narrative at different places must have the opportunity to interact with ongoing stories. The same requisite is valid for cinema, where the whole audience in the theater must have the opportunity to interact. This paper presents a multi-user natu...

Interpretation: Past, Present and Future

this paper aims to explore the relationship between iranian cinema and iranian society and tries to evaluate the potentials of iranian cinema in depicting the multiplicity of social fact. a functional distribution of films was used in order to describe this multiplicity. the 12 years were divided into three periods: the pre-kahtami era, and the first and second khatami administrations. the film...