Resumo

This work aims to discuss the construction of interactivity in cinema and to identify cinematographic changes in post-media content, observing the historical aspect of interactive narratives and analyzing the post-media aesthetics of the last decades. One of the films of the corpus for analysis and debate is the Bandersnatch film (2018). Arlindo Machado (1997), says that interactivity is one of cinema’s deaths, reflecting on what the author called “post-cinema”. Within this same context, the term “post-media” can be applied, considering that Félix Guattari (1990) brings up the individual collective reappropriation era. A territory where digital media becomes the center of any other media, as pointed out by Peter Weibel (2012). To exemplify the use of such terms, the game film Detroit: Become Human (2018) was selected. The relationship between narratives and technologies has changed, creating new formats of cinema’s production and exhibition and providing new aesthetic language experience and sensations. When observing media’s frontiers - or the lack of them - we have to bring to the table media’s evolution, narratives and the viewer. It is observed that the narrative in interactive and post-media content reveals itself with changes in its guiding line from technology, where time can be changed throughout history, at the same time that it is seen. Therefore, the coexistence of interactivity and post-media aesthetics alters the technical and aesthetic functioning of contemporary narratives and creates other dialogues in the convergence of content.