Is this a film or a game? Researching interactive dramas within post-cinematic aspect

This research scrutinizes the position of interactive films, a subset of interactive dramas that position the traditional cinema audience as an active participant, within 21st-century cinema discourse in a post-cinematic aspect that engages with contemporary cinema and explores the ways in which interactive films can be theoretically situated. Interactive dramas encompass various genres, such as film, theatrical productions, commercials, video games, and exhibition installations, wherein the audience can exert a certain degree of influence on the narrative, transcending the fourth wall to engage in the experience actively. In this study, interactive dramas are treated as a superset, and the specific genre of interactive films is examined. The exhibition of interactive films dates back to 1961, evolving and diversifying over time to become a personalized and individually experiencable form, akin to other cinematic products. The theoretical section of the study commences with the definition of interactive dramas, followed by an examination of relevant literature. Subsequently, the definition of interactive films is expounded, and their historical evolution is investigated. Theoretical discussions surrounding interactive films are also addressed. The third section of the study defines post-cinema and delves into the scope of post-cinematic discourse, elucidating the ways in which post-cinema relates to interactive films. The fourth section comprises the methodology of the study. The research involves a content analysis conducted through three distinct examples of interactive dramas with varying levels of interactivity. The analysis is carried out within the framework of post-cinema, employing categories determined by the forms of interaction. In the fifth section, the findings derived from this analysis are discussed. Considering the developmental trajectories of interactive films throughout their historical continuum, it becomes apparent that they embody a narrative and interactive distinctiveness, diverging from both traditional cinematic conventions and video game paradigms in 21st-century cinema. The analysis reveals that the content carries characteristics associated with both the game and film genres at different levels. From a post-cinematic perspective, it is concluded that interactive films defy classification as either a film or a game, suggesting that they represent a hybrid and novel genre with an unpredictable and evolving future form. Keywords: Interactive drama, interactive film, post-cinema, interactive narrative