The “machinimas“, ie the videos shot inside digital environments such as video games or virtual worlds, Second Life style, have now received an audience that goes beyond the circles of technology enthusiasts: “Life 2.0” (see the official site), a documentary filmed in and on Second Life by Jason Spingarn-Koff (aka Jay Spire in SL) for Andrew Lauren Production and Palmstar Entertainment, has in fact been admitted to the Sundance Film Festival 2010. The Sundance Festival is among the most famous festival of independent cinema in the world and launched in the past, authors such as Steven Soderbergh, Quentin Tarantino or the Coen brothers.
Although this is not the first movie shot in Second Life (just to stay in Italy would be enough to remember Thetidia Connection, shot by Adelchi Rossinim aka Adelchi Battisti, for Itland Entertainment in 2007 a trailer of which you can find here), that of the documentary filmmaker of New York (Jason was previously specialized in science and technology films) is promising, compared to a minimum funding (the press release talks about “$ 100 initially collected through funds made available from other avatars“), to be the door opener for a new way of producing video contents for the general public and in this sense, the “calling card” of Sundance is golden.
That machinimas could have a future, for once, many people were saying in Italy: wanting to remind some of the protagonists in a debate born this last couple of years, and reiterated, among other events, even last summer at Ars in Ara (but would not be surprised if the topic will be addressed during the meetings of Digital Cafè, the space devoted to innovation, managed by Marina Bellini, aka Maxi Lane, within the eighth national fair of small and medium publishing, Più Libri Più Liberi, in Rome Eur from 5 to 8 December 2009), have repeatedly shown the potential of the medium Adelchi Rossini himself but even Luca Lisci, Roberta Cirillo or Pierluigi Casolari.
Just Casolari, “engine” of the online community Koinup.com, has even begun in these days an interesting discussion on the forum of Progetto Kublai aaround the proposal to use machimimas to create TV formats whose developments would suggest keeping an eye on if you want to find out sooner than others where it is going over to animated films including “mom tv”. That “mother” in Italy is attracting quite a few complaints in recent weeks for the ride, forced more than convinced, to a technology, the digital terrestrial, on which effective innovation and needs some doubts one may have.