[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"detail-sidebar-cat-0-en-105":3,"doc-seo-201925-105":59,"doc-detail-201925-en":131},{"code":4,"msg":5,"data":6},0,"success",[7,13,18,23,28,33,38,43,48,51,55],{"id":8,"doc_module":4,"doc_module_name":9,"category_name":10,"show_sort_weight":11,"slug":12},1,"Document","Story & Novel",90,"story-novel",{"id":14,"doc_module":4,"doc_module_name":9,"category_name":15,"show_sort_weight":16,"slug":17},2,"Literature",80,"literature",{"id":19,"doc_module":4,"doc_module_name":9,"category_name":20,"show_sort_weight":21,"slug":22},4,"Exam",70,"exam",{"id":24,"doc_module":4,"doc_module_name":9,"category_name":25,"show_sort_weight":26,"slug":27},5,"Comic",60,"comic",{"id":29,"doc_module":4,"doc_module_name":9,"category_name":30,"show_sort_weight":31,"slug":32},6,"Technology",50,"technology",{"id":34,"doc_module":4,"doc_module_name":9,"category_name":35,"show_sort_weight":36,"slug":37},7,"Healthcare",40,"healthcare",{"id":39,"doc_module":4,"doc_module_name":9,"category_name":40,"show_sort_weight":41,"slug":42},8,"Research & Report",30,"research-report",{"id":44,"doc_module":4,"doc_module_name":9,"category_name":45,"show_sort_weight":46,"slug":47},9,"Religion & Spirituality",20,"religion-spirituality",{"id":46,"doc_module":4,"doc_module_name":9,"category_name":49,"show_sort_weight":46,"slug":50},"World Cup","world-cup",{"id":52,"doc_module":4,"doc_module_name":9,"category_name":53,"show_sort_weight":52,"slug":54},10,"Lifestyle","lifestyle",{"id":56,"doc_module":4,"doc_module_name":9,"category_name":57,"show_sort_weight":24,"slug":58},19,"General","general",{"code":4,"msg":60,"data":61},"ok",{"site_id":62,"language":63,"slug":64,"title":65,"keywords":66,"description":67,"schema_data":68,"social_meta":124,"head_meta":126,"extra_data":128,"updated_unix":130},105,"en","the-genre-specificity-of-interactive-cinema-article","THE GENRE SPECIFICITY OF INTERACTIVE CINEMA - Article","","The article examines how interactive cinema reshapes traditional cinematic genre conventions under the pressure of interactivity features, especially user agency and narrative non-linearity. It uses theoretical genre analysis, comparative study of interactive cinema, traditional cinema, and videogames, and case studies of Black Mirror: Bandersnatch, Late Shift, and Detroit: Become Human. Findings show interactive cinema operates as a spectrum of hybrid forms, where plot design, character development, and stylistic expression change through the interaction of technology-driven interactivity tools and inherited genre norms. The study outlines mechanisms of genre transformation and supports further research.",{"@graph":69,"@context":123},[70,84,106],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":40,"@type":76,"position":81},"https://docshare.wps.com/document/research-report/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/the-genre-specificity-of-interactive-cinema-article/201925/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/the-genre-specificity-of-interactive-cinema-article/201925.png","ImageObject",300,407,{"name":92,"@type":93},"Quinn Holloway","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-29","2026-09-04",true,{"@type":102,"interactionType":103,"userInteractionCount":105},"InteractionCounter",{"@type":104},"ViewAction",22,{"@type":107,"mainEntity":108},"FAQPage",[109,115,119],{"name":110,"@type":111,"acceptedAnswer":112},"What is the main research goal of the article?","Question",{"text":113,"@type":114},"The article investigates the genre specificity of interactive cinema by analyzing how interactivity reshapes conventional cinematic genre rules.","Answer",{"name":116,"@type":111,"acceptedAnswer":117},"Which interactivity characteristics are emphasized as key drivers of genre transformation?",{"text":118,"@type":114},"User agency and narrative non-linearity are identified as primary characteristics that transform plot structures and other genre elements.",{"name":120,"@type":111,"acceptedAnswer":121},"How does the article characterize interactive cinema in relation to existing genre categories?",{"text":122,"@type":114},"Interactive cinema is argued to function not as a single distinct genre, but as a spectrum of hybrid forms.","https://schema.org",{"og:url":83,"og:type":125,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":127,"canonical":83},"index,follow",{"doc_id":129,"site_id":62},201925,1788540213,{"code":4,"msg":5,"data":132},{"doc_id":129,"user_id":133,"nickname":92,"user_avatar":134,"doc_module":4,"category_id":39,"category_name":40,"doc_title":65,"doc_description":67,"doc_content":135,"file_id":136,"file_url":137,"file_type":138,"file_size":139,"view_count":105,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":140,"language":141,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":142,"faqs":143,"seo_title":144,"seo_description":67,"update_tm":130,"read_time":145,"preview_page_count":4},2336474466712,"https://ap-avatar.wpscdn.com/davatar_a8503ba1806abce46bf441b54a3ca4cd","THE GENRE SPECIFICITY OF INTERACTIVE CINEMA  \nOlexander Poberailo  \nPostgraduate Student at the Department of Art Studies,  \nKharkiv State Academy of Culture, Ukraine [e-mail: poberailo@gmail.com](e-mail: poberailo@gmail.com), [orcid.org/0009-0003-8259-4921](orcid.org/0009-0003-8259-4921)  \nSummary  \nThis article aims to investigate the genre specificity of interactive cinema by analyzing the transformation of traditional cinematic genre conventions under the influence of key characteristics of interactivity, such as user agency and narrative non-linearity. The relevance of the study stems from the growing popularity of interactive media and the necessity for theoretical conceptualization of their hybrid nature, which complicates genre classification. The research methodology comprises a theoretical analysis of genre concepts in film studies and interactive media theory, a comparative analysis of interactive cinema, traditional cinema, and videogames, as well as case studies of representative interactive works: Black Mirror: Bandersnatch, Late Shift, and Detroit: Become Human. The research findings establish that interactive cinema functions not as a distinct genre, but as a spectrum of hybrid forms. It was found that interactivity fundamentally reshapes plot structures, character evolution, and stylistic elements. It is demonstrated that the nature of this transformation depends on the interplay between the technological platform, which determines the available toolkit of interactivity, and the conventions of the source genre, which influence how these tools are applied. The scientific novelty lies in the systematic analysis of the specific mechanisms of genre convention transformation, which enables a deeper understanding of the specifics of genre formation in interactive cinema. The work substantiates the prospects for further research in this dynamic field.  \nKey words: іnteractive film, interactive storytelling, genre theory, user agency, nonlinear narrative, hybrid media, gaming.  \nDOI [https://doi.org/10.23856/6907](https://doi.org/10.23856/6907)  \n1. Introduction  \nThe contemporary media-cultural landscape is increasingly characterized by the proliferation of hybrid forms emerging from the convergence of traditional artistic practices and novel digital technologies. A significant manifestation of this synthesis is interactive cinema – a phenomenon that integrates cinematic aesthetics with interactive mechanics, largely borrowed from video games. Although the origins of interactive cinema date back to early experiments with interactivity in media, recent years have witnessed a renewed scholarly and practical interest in this phenomenon, driven by the development of streaming platforms, the advancement of game engines, and virtual reality technologies. Despite its growing popularity, this phenomenon remains insufficiently conceptualized, particularly regarding its genre identification. The hybrid nature of interactive cinema complicates its unambiguous categorization within existing taxonomic systems of cinematic or game genres. Thus, the key research question concerns how fundamental characteristics of interactivity – primarily user agency and narrative non-linearity – transform established conventions of the cinematic genre.  \nAnalysis of current research. Analysis of the scholarly literature indicates that significant attention is devoted to the conceptualization and definition of the concept of 'interactive cinema' itself and related terms such as 'interactive narrative' and 'interactive storytelling'. Researchers acknowledge the inherent hybridity of these forms, which combine elements of cinema and video games. Historically, the term 'interactive cinema' was often associated with technologically specific formats, such as Full-Motion Video (FMV) games of the 1990s (Kalender & Ucan, 2022; Perron, 2003), leading to discussions regarding its essence and potential oxymoronic nature (Veale, 2012). The contemporary unders","cbCaiahzLNbgVoEz","https://ap.wps.com/l/cbCaiahzLNbgVoEz","pdf",383300,11,"English","# Introduction\n## Analysis of current research\n## Methodology and case studies\n## Findings and implications","[{\"question\":\"What is the main research goal of the article?\",\"answer\":\"The article investigates the genre specificity of interactive cinema by analyzing how interactivity reshapes conventional cinematic genre rules.\"},{\"question\":\"Which interactivity characteristics are emphasized as key drivers of genre transformation?\",\"answer\":\"User agency and narrative non-linearity are identified as primary characteristics that transform plot structures and other genre elements.\"},{\"question\":\"How does the article characterize interactive cinema in relation to existing genre categories?\",\"answer\":\"Interactive cinema is argued to function not as a single distinct genre, but as a spectrum of hybrid forms.\"}]","THE GENRE SPECIFICITY OF INTERACTIVE CINEMA - Article | PDF",28]