Live cinema is disputed between an abstract-poetic model (Makela) and a narrative-storytelling model (Harris)

Mia Makela and Toby Harris represent two opposed but both recognized conceptions of live cinema. Makela excludes linear narrative and fixed spatial arrangement: live cinema is ‘in essence artistic,’ favoring poetry-like evocative structures and audience participation via instantaneous feedback. Harris, drawing from his own VJ practice, brings in loose narrative and character creation, arguing that the practice should invite the audience to construct narrative and cultural critique. His live cinema is closer to oral storytelling where the performers need to play their audience, not their computers. Both agree that live cinema claims cinematic status for real-time AV work; they disagree on whether narrative is a resource or a constraint.

Examples

Makela model: abstract, improvised projection performance in a gallery where setting up the projectors is itself part of the creative act. Harris model: VJ film RBN_ESC — an hour-long narrative performance using continuity editing and character arcs.

Assessment

Describe a hypothetical live cinema piece and classify it according to both the Makela and Harris models; identify which aspects of the piece determine the classification.