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INTERACTIVE MULTIMEDIA denirectly translated to film. Nevertheless, a very small number of novels or prose texts allow this. This problem is usually solved by ignoring the narrator’s point of view, by leaving out the prose parts, thoughts and reflections as well as by stressing some dramatic parts. But exactly these left-out parts make a large, if not the basic part of a prose text. Since interactive stories do not aim at being a film, but they are still more similar to adapted literary works, to which various media have been added including active participation of the user, the point of view of the narrator should remain identical to the prose text. Thus, a wide range of impressions with fewer changes in the original would be achieved. The next problem to discuss is the problem of length or of duration. Film is necessarily shorter. Usually in retelling a certain text the language is simplified and the focus is on the dramatic parts of the story. In addition, in media presentation the number of characters can sometimes be reduced or two characters can be merged into one, and the like. It is our opinion that certain limits are to be set when we use the original text, and the movement of the user within the text and story (the idea of interaction), should be limited by the sequence of events the user himself has chosen. Another question which poses itself here is the question of the time of the action. Most prose texts are written in the past tense. In a film the viewer can be transposed into the past by means of flashback, but, on the whole, media and film give an impression of actuality. Various techniques of conjuring up the past have been devised. Moreover, there is a difference in the length of time we spend reading a book or watching a film or a multimedia presentation. In a film, everything is determined. Some parts, dialogues or scenes cannot be repeated, or, at least, are not designed to be. In multimedia presentation the possibilities are somewhere in between. In film industry, as well as in multimedia presentation the commercial part is not insignificant, and it should not become the most important part of it. A story, a fairy-tale, or a novel that is already known or has become a best-seller will itself attract a greater number of buyers in a media presentation. LITERARY TEXTS IN MULTIMEDIA PRESENTATION In the very first attempts of multimedia presentations of children’s stories we come across very different combinations of media and different media solutions. The basic difference between these stories and “common” stories is in the fact that they are interactive and dynamic. However, the first attempts of translating works of children’s literature into multimedia presentations consisted of a recorded story/voice which would accompany static drawings. Some parts of the drawings could be moved by using the mouse, and they would then say something or produce a sound. Animation was frequently bad or inadequate (e.g. only the mouth or the eyes could move). Examples of such adaptations are the fairy-tales Little Red Riding Hood and The Three Piglets -Bedtime Stories, Rainbow Technology). Some other authors of interactive stories have made use of well-known titles (e.g. Pippi, A. Lindgren, Ahead media, 1997). Pippi Longstocking is in itself an attractive title and children recognize it. In this interactive story they can move around Pippi’s castle and click the mouse in particular parts of the picture. Something is going on, we could say. But nothing particularly important, we dare notice. Three stories are at our disposal and they can be read together with the speaker. The story also contains various games - puzzles, clothes-changing and sorting games, which soon become boring. On this CD-ROM sound is heard only when a certain object or person on the screen is clicked on by the mouse. Everything seems cold and static, although one can move around relatively swiftly. As if it had been foreseen that everything would soon become boring - with, of course, the explanation about the instability of children’s attention. The original text has been mostly abandoned, no consideration has been given to the narrator’s perspective, to the timing and to all the other abovementioned elements. Having this in mind, a quality analysis of these points is not possible, the author simply does not have second thoughts about them. Everything is submitted to game. What is left from the literary work is only its title, the characters(not all of them) and (partly) the scene. Exactly such pieces show an uncontrolled production and the destruction of the original text with no visible reason whatsoever. Some software authors, on the other hand, have created new texts with original and attractive titles specially for interactive stories, such as the classics among electronic books - the Living Books editions. They are ideal for the first contacts of the children with computers. Picture, sound and animation are linked into one story with a certain plot. In such a way children understand more easily both single words and whole sentences. In distinction from film, such stories can be explored while playing. This can be done in different ways: - the story runs like in a film, - the narrator reads or tells the story, while the child only turns the pages (this actually means the pages in the computer), - some parts of pictures can be clicked on with the mouse whereupon they produce various sounds, dance, etc. A child can select whether he/she wants the story to be read to him/her or he will only play pith particular pictures. Some CD-ROMs offer the possibility of choosing the voice reading the story or the preferred language. An example for this is the CD-ROM “Harry and the haunted house” by Mark Schlichting. A thrilling, interesting, charming story with a lot of special effects. When reading, parts of the text are highlighted, which makes reading and following the text easier for the child. However, the user can proceed linearly through the story, page by page. In multimedia presentations there are also new, creative elements, e.g. the user decides on his/her own about the development of the story which then results in different consequences (e.g. Playtoons, Sierra Cocktail, or Microsoft 3-D-Filmstudio). In such programmes the children can choose the characters and the scene on their own and make their own story. In the Microsoft version children can use music of their own choice as well as record their own voice. In this way they act creatively and create their own story or film. Very demanding, interesting and challenging (Feibel, 1997). * * * Interaction and dynamism, as already stated, are the basic components of multimedia presentations of texts from the area of children’s literature. Children find such adaptations attractive not only or to a lesser extent because of the story they offer, but more because they give a chance to try out the computer and the elements of game. Exactly this attraction should be exploited by offering the children quality educational software. Finally, it can be concluded that interactive stories, if made properly, attract children, help them when learning to read, when learning the logical sequence of story, characters and space, help them understand the relationship between text and picture and the length of the story. Children like it when they are being read the same story over and over again. In this way they learn that a story, once written, does not change. They also learn to read from left to right and from top to bottom (Web & Rowe, 1996). Furthermore, it is interesting and thrilling. However, the emotional and social interaction which develops in the course of re-telling or group reading of literary works can never be replaced by a computer. That is why these other elements should be worked on in order to improve interactive stories as much as possible. Bibliography Albersheim, F.J. (1978), "Traditioneller Literaturbegriff oder Literatur im Zeitalter der Medien. Zur Einbeziehung der Medien (des Films) in literaturwissenschaftliche Theorie und Praxis", in: Literatur in Film und Fernsehen: otes the possibility of active relationship between medium and user. The authors of multimedia software wish to realize an optimal combination of different media and, in this way, achieve certain effects with the user. Exactly because of the mentioned combination of different media it is necessary to start from the individual medium or from those media where a combination has already occurred and they represent singular works of art - e.g. films. According to this combination of individual media film is closest to multimedia presentation, the only element missing from it being the very important idea of interaction. With multimedia software, on the other hand, active participation and running the action is expected from the user. THE RELATIONSHIP BETWEEN LITERATURE AND MEDIA Media, especially film, have changed the relationship between reader and book and the literary reception of the text. They change the literary value of a certain text. The access to literature through media is becoming more frequent, and so is the pushing aside of books. (Albersheim, 1980) Let us now look at some problems of adaptation of literary works. We have to expect certain changes from the fact itself that the text, or the word, shifts to a different medium. Even when the author of the story writes the script himself, changes occur, and they do occur at the very beginning. They are conditioned by the length of the written text which has to be shortened in the adaptation because of the nature of the text or of the medium respectively. Of course, there are certain limits, and the original text must be recognizable in the adaptation. In order to be able to understand better the problems of adaptation of literary works we have to look into some specific features of longer prose forms: The first problem that poses itself is the problem of “point of view”. It is very important, since it defines the setting in motion of the story. It is, actually, a question about who is telling the story to whom and how. It can be: 1. The first person point of view 2. The omniscient narrator point of view 3. The third person limited point of view 4. The dramatic point of view As can be seen, from the five mentioned ways of narration three of them require from the narrator the ability of immersion into the character, into his thoughts and feelings. They are: the omniscient narrator point of view, the third person limited point of view and the stream of consciousness. They do not have an adequate media/film equivalent. (R. Johnson, J. Bone,1976) Apart from that, in these three kinds of narration we are aware of the narrator, we know somebody is telling a story. On film this could be achieved by recording the narrator’s voice, but this is not a typical characteristic of film. Here we get to the first essential difference in the adaptation of literary works into film or multimedia. On CD-ROMs containing interactive stories the voice of the narrator is still the most present. As regards film, the dramatic point of view is the only one that can be dvon Shakspeare bis Beckett, Kіnigstein/Ts., Scriptor. Bфumler, E.C. (1991), Lernen mit dem Computer. Weinheim und Basel: Beltz Verlag. Cotton, B. and Oliver, R. (1994), Understanding Hypermedia: From multimedia to virtual reality. London: Phaidon Press. Eagelton, T. (1983), Literary Theory: An Introduction. Oxford: Basil Blackwell. Feibel, Th. (1997), Kinder Software - Ratgeber 1997. Haar bei Mќnchen: Markt und Tehnik, Buch und Software Verlag. Ingarden, R. (1973), The literary Work of Art. Evanston, Ill. Iser, W. (1974), The implied Reader. Baltimore. Johnson, R. and Bone, J. (1976), Understanding the film, by National Textbook Company, Skokie, USA. Charles, G. R. (Ed.), (1978), Medium und Kunst. Hildesheim. Web, C. and Rowe, W. (1996), Kinder entdecken Computer. Mќnchen: Beust Verlag. 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