ABSTRACT
In their editorial introduction to a special issue of Convergence on the theme of connected viewing, J. Holt et al. state that ‘Connected viewing essentially refers to the multiple ways viewers engage with media in a multiscreen, socially networked, digital entertainment experience’. Holt and K. Sanson use the phrase to describe ‘a larger trend across the media industries to integrate digital technology and socially networked communication with traditional screen media practices’. In their work on ‘Second-screen theory’, H. J. Lee and M. Andrejevic claim that early instances of interactive television as it has developed through the emergence of digital television, provided a precedent for data collection through consumer activity. Media convergence, and digitality in particular, has posed some obvious challenges for film theory for some time, particularly in relation to how one necessarily approaches the notion of film-as-text in contemporary contexts.
