Digital technologies have transformed viewers from passive observers into active participants in film and television. Streaming platforms like Netflix have pioneered this shift, with their first interactive title, “Puss in Book: Trapped in an Epic Tale”, released in 2017, followed by the more complex “Black Mirror: Bandersnatch” in 2019. This interactive film presents viewers with choices that impact the story of Stefan Butler, a 19-year-old video game designer in 1980s London. As he works on a game inspired by a book, he increasingly feels manipulated by external forces. Viewers can access multiple endings without restarting, allowing them to revisit key moments and make different choices. Their experience is influenced by personal preferences, nostalgia, prior knowledge of Black Mirror’s themes, and the technology available to them. (Elnahla, 2019)

Lev Manovich, in ‘The Language of New Media’, discusses how new media design aims to immerse users in fictional worlds, like traditional fiction. Unlike conventional media, new media is characterised by variability, producing multiple versions often generated in part by computers. This variability enhances immediacy, as customised content is delivered almost instantly through digital data. (Manovich, 2002, p. 17-36-37) The concepts discussed are powerfully exemplified in Netflix’s “Black Mirror: Bandersnatch” (2019). Its branching narrative and multiple endings, shaped by viewer choices, create a unique experience for each audience member. This interactive approach aligns with Manovich’s ideas about variability and immersion.

As interactive films and series gain traction, they challenge the conventional linear storytelling models of the past. With the ability to make choices, viewers transition from being passive observers of a pre-set narrative to becoming active participants in the story. This evolution may foster a deeper emotional connection with the characters and plot, as audiences are not merely watching but actively shaping the outcomes.

BIBLIOGRAPHY

Elnahla, N. (2019) ‘Black Mirror: Bandersnatch and how Netflix manipulates us, the new gods’, Consumption Markets & Culture, 23(5), pp. 506–511. doi: 10.1080/10253866.2019.1653288.

Manovich, L. (2002) The language of new media. First MIT Press pbk. Edition.. Cambridge, Massachusetts: The MIT Press.

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