Abstract: The author of the work raises the issue of the phenomenon of nomadism in the context of the work of the French director Alain Resnais. The object of the research is the early works of the director, such films as "Last year in Marienbad", "Hiroshima, my love", "I love you, I love". The purpose of the work is to answer the question of how nomadic strategies allow the author to create non-linear narrative structures, oscillating characters and flickering characters in his films, and how understanding these strategies can help viewers and researchers in the act of deciphering works. The author also analyzes a number of phenomena related to nomadism, such as the rhizome, the body without organs, deterritorialization, escape, flicker. The novelty of the research lies in the application of nomadic strategies to the cinema of Alain Resnais. This approach makes it possible to use the current philosophical and art history prism to study narrative structures, intraframe space and characters. The author argues that Rene's cinematography can be viewed through a position of resistance to forms of power - suppression and control - which manifests itself in the violation of traditional forms of narration and the creation of split characters. To study the mentioned aspects of Rene's work, the author resorts to the philosophy of Gilles Deleuze and Felix Guattari. The author also explains the position of the modern viewer and describes the strategies of looking, which can lead to a state of pleasure from interacting with nomadic works.

Abstract: The author of the work raises the question of whether the term "interactivity" is applicable exclusively to works with the presence of a mechanism for selecting storylines, or it is permissible to assert that any work open to a variety of interpretations and containing some interactive potential can also be recognized as interactive. The author argues that the prerequisites for the appearance of such works should be sought in the works of avant-gardists of the 1960s, such as Paul Sharitz, and the cinema of postmodernism. The object of the study is the film "The Inner Empire" by David Lynch, which the author defines as a work with interactive potential. The subject of the study is hyper-narrative constructions and methods of their construction. The purpose of the work is to answer the question of how screen works become interactive, despite the lack of mechanisms for choosing storylines in them, how the Internet is connected with this, and why all this actualizes the method of exclusion described by Viktor Shklovsky back in 1916. The novelty of the research lies in the author's proposal of the concept that a screen work without mechanisms of direct choice of plot moves can be attributed to the interactive group due to the presence of a certain "interactive potential" in it. As an answer to the question under what conditions such an interactive potential can be detected in a work, the author puts forward the hypothesis that its appearance is preceded by hyper-narrative constructions and the use of the technique of exclusion in the text.