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Space, Game, Camera.The perspective interface, the virtual camera, and the simulation of ‘I’

Space, Game, Camera.The perspective interface, the virtual camera, and the simulation of ‘I’

Mike Jones

on 29 September 2010

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Transcript of Space, Game, Camera.The perspective interface, the virtual camera, and the simulation of ‘I’

Computer Gaming IS Cinema

Cinema is the Art of the Moving Image

Narrative is Spatial

Cinema IS Technology

The Camera is the common denominator
Big, Bold, Assertions Staging the Camera Production Process + Virtual Camera The gaming production process

Composing Space

Pre-Frame Composition
Diegetic & Mimetic Experience over Communication

‘what’s happening now’ vs ‘what happened then’ The Frame is the Experience? Mise en Scene “On set or location, filmmakers do not stage the action and only subsequently think about where the camera is going to be placed in order to record it. Similarly, to discuss the lighting of a shot without reference to the position of the camera is to misunderstand how films are made – one does not light a set and then set about deciding where the camera is going to be placed.” (p54)

Gibbs, J. 2002 Are you sure about that..? player as Cinematographer Mise en Space Spatial rather than Framic interface design

Experience in space / Control in space

Where rather than What
the perspective interface,
the virtual camera
and the simulation of 'I' "It is quite feasible to produce a film without actors,
but a film without a camera is a sheer impossibility."
Borge, V. 1962 Mike Jones
Lecturer in Screen Studies
Australian Film TV and Radio School SPACE GAME CAMERA Camera as Genre Felling States
The Contract with the Player Vanishing Point
Simulation of 'I'
inverting compositional process
frame as filter
a presentation to self The function of the moving camera is
"to create a sense of the continuous
presence of the present"
Edward Brannigan Immediacy + Hypermediacy Remediation and the remediated camera
The Vanishing Point
Diegetic and non-Diegetic Immediacy; "a style of visual representation whose goal is to make the viewer forget the presence of the medium"
Bolter and Grusin Being Useful It's useful to assume commonality to identify difference

It's useful to think of a game world as a composition OF the player not FOR the player

It's useful to conceive of game interface design as one of positioning the player as cinematographer.

It's useful to concieve of a simulation of I rather than Eye
Mike Jones
Lecturer in Screen Studies
Australian Film TV and Radio School

De Certeau, M, The practice of everyday life, Berkley, University of California Press, 1984.

Börge, V - Translation Snell. 1962, 'Cinema: A Camera Within Us', The london magazine, vol. 1, no. 12.

Flynn, Bernadette. 2003. “Languages Of Navigation Within Computer Games.” Paper presented at the 5th International Digital Arts and Culture Conference, RMIT, Melbourne. Also available at (accessed 10 July 2010).

Rivette, J., 1954. The age of mettuers en scene. In Cambridge MA: Harvard University Press, pp. 134

Sarris, A., 1973. The primal screen, New York: Simon and Schuster. p85Gibbs, J., 2002. Mise-En-Scene: film style and interpretation, London: Wallflower Press. p 54

Eikenes, J., & Morrison, A. 2010 Apr 27. Navimation: Exploring Time, Space & Motion in the Design of Screen Based Interfaces. International Journal of Design [Online] 4:1. Available:

Tan, E. S. (1996). Emotion and the structure of narrative film. Film as an emotion machine. Mahwah: Lawrence Erlbaum. Cited in Thomas Schubert and Jan Crusius Five Theses on the Book Problem: Presence in Books, Film and VR accessed 140906 (p 53)

Branigan, E. 2006, Projecting a camera: language-games in film theory, Routledge Taylor & Francis Group, New York. (p9)Bolter, J.D. & Grusin, R., 1998. Remediation: Understanding New Media, Cambridge: {MIT} Press. 272-73) It is a Mistake to Assume Difference “camera on tracks. More akin to the experience of floating through water in a houseboat than the rhythm and tempo of a human stroll, the process of navigation has a mesmeric dislocating effect.”
Bernadette Flynn The creation of a precise complex of sets and characters, a network of relationships, an architecture of connections, an animated complex that seems suspended in space.”
Jaques Rivette "Cinema is less an art of origination than of magnification... it is the only art I know where more comes out than goes in, and the difference may be called mise en scene... it is the gap between intention and effect"
Andrew Sarris
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