Portrait of the interactive spectator as musician
DOI:
https://doi.org/10.11606/issn.1982-8160.v16i1p59-75Keywords:
Science-fiction, Netflix, Contemporary musicAbstract
With the help of Goodman and Genette, the author develops two major concepts previously coined by the former – autography and allography – to help answer the question as to whether the opposition between film and TV series has to do with differences in artistic quality, a debate exacerbated by Netflix’s candidacy at film festivals. Using also a comparison with music partitions, the article wonders whether the viewer of the interactive work may be called an operator, performer, player, or interpreter.
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