Sasha Poberailo — films, interactive cinema, research, lab, and teaching

The KVANT 1993 Archive: experiment plan and interim results

The KVANT 1993 Archive is a research prototype on the border of film and play: an abandoned late-Soviet research lab from an imagined 1993, explored in first person. The prototype was built as a measuring instrument for a doctoral study in audiovisual art: directorial parameters of interactive storytelling — image density, fog, the pause of participation, montage, sound — become controllable variables. Three research directions (technological ascesis, hybrid agency, montage) are tested through contrast builds and synthetic observers. As of September 2026 the project has a measurement methodology (MV-1…MV-4), theoretical theses T1–T7, and an art-studies layer. The artifact stage is paused: the focus is now data analysis and an academic publication; human playtests are honestly deferred, so all 10 hypotheses remain 🟡.

Theoretical Approaches to the Study of Interactive Cinema: A Systematization of International Discourse

The aim of this article is to systematize and critically analyze the leading theoretical approaches to the study of interactive cinema in contemporary international scholarly discourse. The relevance of the study stems from the fact that interactive cinema, situated at the intersection of cinema, video games, and new media, is one of the most striking manifestations of the transformation of art under the influence of digital technologies. Despite a growing number of publications, theoretical understanding of the phenomenon remains fragmentary, and a coherent methodology for analyzing its artistic specificity is lacking. Research results. A critical analysis of the international scholarly corpus shows that interactive cinema research develops mainly in five principal directions: institutional, historical, technological, art-and-technology, and cultural. Within these directions, key discussion points cross-cutting the entire discourse are identified: the dialectic between immersion (“text as world”) and agency (“text as game”), the phenomenon of the “illusion of choice,” the ethics of media participation, and the challenges of adapting traditional film language to interactive conditions. The scientific novelty lies in a comprehensive synthesis of multi-vector theoretical views, which made it possible to identify a research gap and to substantiate the need for a specialized art-studies methodology. Conclusions. The systematization lays the conceptual groundwork for such a methodology, which must integrate all the analyzed dimensions in order to study interactive cinema in depth as an innovative direction of audiovisual art.

Optics and Camera Equipment

Оптика та знімальна техніка

Physical foundations of optics and modern imaging systems: light, lenses, sensors, exposure, and professional use of photo/video cameras, optics, and accessories.

Light→Lens→Aperture / DoF→Sensor→Exposure+1

Foundations of Video Editing

Основи відеомонтажу

Editing as screen language: universal NLE principles (timeline, In/Out, continuity, rhythm, sound, export) that transfer across Premiere, Resolve, Final Cut, CapCut, Shotcut, or Avid — not a single-app course.

Ingest→Select→Rough cut→Sound→Colour+1

Interactive Cinema: Theory, Practice, and AI Methodologies

Інтерактивне кіно: теорія, практика та AI-методології

Theory and practice of interactive cinema (audiovisual interactive storytelling): history from Kinoautomat and FMV to web/VR, creative tools taxonomy, and AI-assisted research, branching design, prototyping (Twine/Arcweave/React), and production packages.

Theory→History / AI→Graph→Prototype→Package+1