|Dangerous Sim Crossings: Framing the Second Life art machinima|
Over the past few years, a genre of machinima has focused on the three-dimensional artwork created inside Second Life. In making these builds and environments visible to outsiders, machinima, which like all film is essentially two-dimensional, frames a 3D experience that is without frame or fixed point of view, despite efforts to represent its rotundity. When avant-garde filmmaker Peter Greenaway was asked to be a judge of the films made for the University of Western Australia's third machinima challenge (May 2011), he urged its filmmakers to dispense with frame, actor, text and camera by rejecting the conventional diegesis of cinema (which hides frame and flatness) and foregrounding image and impact. This essay focuses on concepts of the frame, the parergon, but also the synergy between artists and filmmakers in Second Life, emphasizing the open platform of a virtual world that encourages individual building, much like iClone and Moviestorm, while offering the important social interaction of artist and filmmaker that those independent platforms do not.