Résumé

Interactivity has been permeating every digital object, field of creation, and experience. We see, nowadays, fields which were resistant to this change, such as television, being subjected to this demand for interactivity. Cinema, however, keeps resisting.
In neither television nor cinema did the adoption of interactivity come naturally. Cinema stuck to narrative; animation, a specific manifestation of cinema, followed. As both lost the cyclic repetition, the original loop, the two formats were limited to time, to the manipulation of time, to the edition of the temporal dimension, relegating editing and spatial collage to the category of special effects. Linear narratives do not lend themselves to the introduction of variables, under the risk of losing the narrative thread.
The ways we interact in any context have also been limited to a small number of options agreed upon by practice and shaped by the technical possibilities of the birth of the computer age. The office metaphor converted the idea of ​​operating a computer system to a very limited experience.
In this paper we try to question these limitations, trying to look at the question differently: does interactive cinema already exist- are we not seeing it? We explore the introduction of interaction in animated films. We consider that it would not make sense to create an interactive object in which interactivity was a mere addition, without intrinsic motivation to the project’s own objectives, at a formal and narrative level. In this context, different perspectives are explored when facing interactive cinema.