This essay explores Buññuel's legacy for interactive database narratives and their discreet pleasures. Using Buññuel's 1933 conceptual" as an interface design for an interactive installation and for adapting his experimentation to cyberspace, the essay analyzes three strategies: 1) Buññuel's reliance on incongruous objects("hot spots") rather than montage as the primary means of navigating from one scene or level to another; 2)his use of puppet-like avatars who don't conform to psychology or narrative logic but are engaging nevertheless; 3) his creation of a narrative field where story possibilities are limitless, repetition and randomness rampant, and search engines motored by desire.
The Wire is distinguished by the depth of its systemic analysis of Baltimore's urban corruption and by the emotional power it elicits. By presenting so many vibrant characters with enormous potential and showing how our culture is wired to destroy them, it creates serial tragedy with a systemic form of suture.
The spectacular burgeoning of music videos poses many intriguing questions about the form and its institutional setting, as well as the relations between video and dreaming.
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