Storytelling with virtual reality in 360-degrees: a new screen grammar

IF 0.4 0 FILM, RADIO, TELEVISION Studies in Australasian Cinema Pub Date : 2017-09-02 DOI:10.1080/17503175.2017.1387357
K. Dooley
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引用次数: 75

Abstract

ABSTRACT With reference to three recently produced Australian case studies, this article explores approaches to the conceptualization and writing of short narratives for the emerging medium of cinematic 360-degree virtual reality. Storytelling for this format involves a user-focused engagement with time and place. Whereas the viewer of classical narrative media, such as film or television, is for the most part passive, the VR viewer is ‘present’ as an active agent who engages with the unfolding narrative as either witness or participant. These factors present a number of challenges and opportunities for the creator of narrative VR, when considering viewer immersion and/or interaction in the 360-degree environment. The article presents a review of literature that interrogates the specifics of writing for VR, with a specific focus on 360-degree, immersive projects. By interrogating the form of three recently produced works, the author highlights emerging approaches to narrative structure, audience acclimation and the directing of viewer attention. While some commonalities can be observed across these case studies, the article concludes that to date, there is no one approach and no fully established screen grammar associated with a 360-degree VR narrative.
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360度虚拟现实叙事:一种新的屏幕语法
摘要参考最近制作的三个澳大利亚案例研究,本文探讨了360度电影虚拟现实这一新兴媒介的短篇叙事概念化和写作方法。这种形式的故事讲述涉及以用户为中心的时间和地点参与。尽管电影或电视等经典叙事媒体的观众在很大程度上是被动的,但虚拟现实观众是作为一个积极的代理人“在场”的,他作为见证人或参与者参与正在展开的叙事。当考虑到观众在360度环境中的沉浸感和/或互动时,这些因素给叙事VR的创作者带来了许多挑战和机遇。这篇文章对询问VR写作细节的文献进行了综述,特别关注360度沉浸式项目。通过对三部近期作品的形式进行质疑,作者强调了叙事结构、观众适应和引导观众注意力的新兴方法。虽然在这些案例研究中可以观察到一些共性,但文章得出结论,到目前为止,还没有一种方法,也没有完全建立的与360度VR叙事相关的屏幕语法。
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来源期刊
Studies in Australasian Cinema
Studies in Australasian Cinema FILM, RADIO, TELEVISION-
CiteScore
0.50
自引率
0.00%
发文量
7
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