CINEMATIC VIRTUAL REALITY AS A NEW NARRATIVE FORM

Yıl 2023, Cilt: 1 Sayı: 1, 2 - 16, 02.04.2023

Ali Matay , Hazal Bayar

Öz

Over the past three decades, digital information technologies have rapidly transformed our means of communication and introduced new media forms. Some of the most recent developments in this respect are the emergence of 360-degree video cameras (both at the consumer level and for industrial production), the introduction of computer applications to process 360-degree video images, and wide-scale adoption of head-mounted displays (HMD). These technologies, all working together, seem to provide us with a new form of filmmaking, new potentials for cinematic storytelling, and in fact, a new form of cinematic experience. Although 360-degrees films that are produced to be watched on HMDs have immensely evolved in the past decade, the creative projects produced in this field remains relatively experimental. Cultivating the widespread adoption of VR headsets towards developing new narrative forms and exploiting the potentials of this new medium towards storytelling remains as challenging yet promising task. This paper will examine the narrative potentials of a new media form, which is called Cinematic Virtual Reality (CVR).

Anahtar Kelimeler

cinematic virtual reality, 360-degree film, immersive narrative, viewer engagement

Kaynakça

• Arzy S, Thut G, Mohr C, Michel CM, Blanke O. (2006). Neural basis of embodiment: distinct contributions of temporoparietal junction and extrastriate body area. J Neurosci, 6(31).
• Bailenson, J., Yee, N., Kim, A., & Tecarro, J. (2007). Sciencepunk: The influence of informed science fiction on virtual reality research. In: M. Grebowicz, ed., SciFi in the Mind's Eye: Reading Science Through Science Fiction. Open Court Publishing., pp. 147-164.
• Bates, J. (1991). Virtual Reality, Art, and Entertainment. Presence: Teleoperators and Virtual Environments, 1(1), pp. 133-138.
• Bazin, A., (2004) What Is Cinema?: Volume I. 2nd ed., University of California Press, pp. 24-30.
• Bender, S. (2018). Headset Attentional Synchrony: Tracking the Gaze of Viewers Watching Narrative Virtual Reality. Media Practices and Education, 20(3), pp. 277-296.
• Bermúdez, J. L. (1998). The Paradox of Self-Consciousness. Bradford: MIT.
• Brillhart, J. (2016). In the Blink of a Mind — Attention. [online] Medium. Available at: https://medium.com/the-language-ofvr/in-the-blink-of-a-mind-attention-1fdff60fa045. [Accessed 04 May. 2020].
• Bolte, B. and Lappe, M. (2015). Subliminal Reorientation and Repositioning in Immersive Virtual Environments using Saccadic Suppression. In: IEEE Transactions on Visualization and Computer Graphics, 21(4), pp. 545-552.
• Bordwell, D., Thompson, K., Smith, J. (2016). Film art: an introduction. 11th ed. New York: McGraw-Hill Education.
• Botvinick, M., and Cohen, J. (1998). Rubber Hands “Feel” Touch that Eyes See. Nature, 391(6669), p. 756.
• Brown, B. (2016). Cinematography: Theory & Practice. New York: Routledge.
• Brown, W. (2016). Cinema against spectacle: technique and ideology revisited. New Review of Film and Television Studies, 14(2), pp. 268-273.
• Bucher, J. (2017). Storytelling for Virtual Reality:Methods and Principles for Crafting Immersive Narratives. Taylor & Francis.
• Child, B. (2016). Steven Spielberg warns VR technology could be 'dangerous' for film making. [online] the Guardian. Available at: https://www.theguardian.com/film/2016/may/19/ steven-spielberg-warns-vr-technology-dangerous-for-film-making. [Accessed 10 Jun. 2020].
• Comolli, J. L. (2015). Cinema against Spectacle. Amsterdam: Amsterdam University Press.
• Curtis, C., Eisenmann, D., El Guerrab, R., & Stafford, S. (2016). The making of pearl, a 360° google spotlight story. In: ACM SIGGRAPH 2016 VR Village
• Dalby, J. (2016). Immersed In Difficulty: The Problem of Suspension of Disbelief in Transmedia and Vr Experiences. Online Journal of Communication and Media Technologies, Volume 6 (September 2016 - Special Issue), pp. 67-85. Available at: https://www.ojcmt.net/article/immersed-in-difficulty-the-problem-of-suspension-of-disbelief-in-transmedia-and-vrexperiences-5662 [Accessed 15 May 2020].
• Danieau, F., Guillo, A., & Doré, R. (2017). Attention guidance for immersive video content in head-mounted displays. In: IEEE Virtual Reality (VR).
• Ding, N., Zhou, W. & Fung, A. (2018). Emotional effect of cinematic VR compared with traditional 2D film. Telematics Informatics, 35, pp. 1572-1579.
• Dredge, S. (2015). Pixar co-founder warns virtual-reality moviemakers: 'It's not storytelling’. [online] the Guardian. Available at: https://www.theguardian.com/technology/2015/dec/03/ pixar-virtual-reality-storytelling-ed-catmull. [Accessed 10 Jun. 2020].
• Gödde, M., Gabler, F., Siegmund, D., & Braun, A. (2018). Cinematic Narration in VR – Rethinking Film Conventions for 360 Degrees. In: Virtual, Augmented and Mixed Reality: Applications in Health, Cultural Heritage, and Industry, pp.184-201.
• Haridy, R. (2016). How VR is rewriting the rules of storytelling. [online] New Atlas. Available at: https://newatlas.com/vrstorytelling-darnell-brillhart/45010. [Accessed 02 Jun. 2020].
• Heeter, C. (1992). Being There: The Subjective Experience of Presence. Presence: Teleoperators & Virtual Environments, 1(2), pp. 262–271.
• Holland, N. (2003). The Willing Suspension of Disbelief: A Neuro-Psychoanalytic View. PsyArt, [online] Volume 7, at: https://psyartjournal.com/article/show/n_hollandthe_willing_suspension_of_disbelief_a_ne [Accessed 20 May 2020].
• Ihde, D. (1990). Technology and the Lifeworld. Indiana University Press.
• Jaunt. (2018). The Cinematic VR Field Guide. [online] Occulus. Available at: https:// creator.oculus.com/learn/cinematic-vrfield-guide/. [Accessed 04 Jun. 2020].
• Jerald, J. (2015). The VR Book: Human-Centered Design for Virtual Reality. Morgan & Claypool Publishers.
• Katz, S. D. (1991). Film Directing Shot by Shot: Visualizing from concept to screen. Michigan: Sheridan Books.
• Kilteni, K., Normand, J.-M., Sanchez-Vives, M. V., & Slater, M. (2012). Extending Body Space in Immersive Virtual Reality: A Very Long Arm Illusion. PLOS ONE, 7(7).
• Kjær, T., Lillelund, C.B., Moth-Poulsen, M., Nilsson, N.C., Nordahl, R., & Serafin, S. (2017). Can you cut it?: an exploration 15 of the effects of editing in cinematic virtual reality. In: Proceedings of the 23rd ACM Symposium on Virtual Reality Software and Technology.
• Knorr, S., Ozcinar, C., Fearghail, C. O., & Smolic, A. (2018). Director's cut: a combined dataset for visual attention analysis in cinematic VR content. In: Proceedings of the 15th ACM SIGGRAPH European Conference on Visual Media Production. New York: Association for Computing Machinery, pp. 1-10.
• Lanier, J. (2017). Dawn of the New Everything: Encounters with Reality and Virtual Reality.. 1st ed. [ebook] New York: Henry Holt and Co., Inc. Available at: https://www.kobo.com/us/n/ebook/dawn-of-the-new-everything-1 [Accessed 12 May 2020].
• Lombard, M., & Ditton, T. (1997). At the Heart of It All: The Concept of Presence. Journal of Computer-Mediated Communication, 3(2).
• Markowitz, D., & Bailenson, J. (2019). Virtual reality and communication. In: P. Moy ed., In Oxford bibliographies in communication: Oxford University Press.
• Matamala-Gomez M., Donegan T., Bottiroli S., Sandrini G., Sanchez V., Tassorelli C. (2019). Immersive Virtual Reality and Virtual Embodiment for Pain Relief. Frontiers in Human Neuroscience, 13(279).
• Mateer, J. (2017). Directing for Cinematic Virtual Reality: how the traditional film director’s craft applies to immersive environments and notions of presence. Journal of Media Practice, 18(1), pp. 14-25.
• Nasrabadi, A. T., Mahzari, A., Beshay, J. D., & Prakash, R. (2017). Adaptive 360-Degree Video Streaming using Scalable Video Coding. In: Proceedings of the 25th ACM international conference on Multimedia. New York: Association for Computing Machinery, pp. 1689-1697.
• Nicolae, D. (2018). Spectator Perspectives in Virtual Reality Cinematography. The Witness, the Hero and the Impersonator. Ekphrasis. Images, Cinema, Theory, Media, 20, pp. 168-178.
• Nielsen, L., Brandt Møller, M., Hartmeyer, S., Ljung, T., Nilsson, N., Nordahl, R., & Serafin, S. (2016). Missing the point: an exploration of how to guide users' attention during cinematic virtual reality. In: Proceedings of the 22st ACM Symposium on Virtual Reality Software and Technology. Munich: Association for Computing Machinery.
• Passmore, P. & Glancy, M., Philpot, A. & Fields, Bob. (2017). 360 cinematic literacy: A case study. In: International Broadcasting Convention Conference. [online] Amsterdam. Available at: https://www.ibc.org/production/360-cinematicliteracy-a-case-study/2479.article [Accessed 04 Jun. 2020].
• Pausch, R., Proffitt, D., & Williams, G. (1997). Quantifying immersion in virtual reality. In: SIGGRAPH '97: Proceedings of the 24th annual conference on Computer graphics and interactive techniques, 13-18. Available at: https://dl.acm.org/doi/pdf/10.1145/258734.258744 [Accessed 10 May 2020].
• Pimentel, Ken, and Kevin Texeira. (1993). Virtual Reality: Through the New Looking Glass. Intel / Windcrest McGraw Hill.
• Pope, V., Dawes, R., Schweiger, F., Sheikh, A. (2017). The Geometry of Storytelling: Theatrical Use of Space for 360-degree Videos and Virtual Reality. In: Proceedings of the2017 CHI Conference on Human Factors in Computing System. Association for Computing Machinery, New York, pp. 4468-4478.
• Reyes, M. C., & Dettori, G. (2019). Developing a Media Hybridization based on Interactive Narrative and Cinematic Virtual Reality. Ekphrasis. Images, Cinema, Theory, Media, 22, pp 131-151.
• Ross, M. (2018). Virtual Reality’s New Synesthetic Possibilities. Television & New Media, 21(3), pp. 297-314.
• Roth, C. (2016). Experiencing Interactive Storytelling. (PhD). Vrije Universiteit Amsterdam.
• Rothe, S., Hussmann, H., & Allary, M. (2017). Diegetic cues for guiding the viewer in cinematic virtual reality. In: VRST '17: Proceedings of the 23rd ACM Symposium on Virtual Reality Software and Technology. New York: Association for Computing Machinery, 54, pp. 1-2.
• Rothe, S., Kegeles, B., & Hussmann, H. (2019). Camera Heights in Cinematic Virtual Reality: How Viewers Perceive Mismatches Between Camera and Eye Height. In: Proceedings of the 2019 ACM International Conference on Interactive Experiences for TV and Online Video. Manchester: Association for Computing Machinery, pp.25-34.
• Røssaak, E. (2006), Figures of Sensation: Between Still and Moving Images. In: W. Strauven, ed., The Cinema of Attractions Reloaded, 1st ed. Amsterdam: Amsterdam Univeristy Press., pp. 321-334.
• Ryan, M. L. (1999). Immersion vs. Interactivity: Virtual Reality and Literary Theory. Substance, 28(2), pp. 110-137. Serrano, A., Sitzmann, V., Ruiz-Borau, J., Wetzstein, G., Gutierrez, D., & Masia, B. (2017). Movie editing and cognitive event 16 segmentation in virtual reality video. ACM Transactions on Graphics, 36(4), pp. 1-12.
• Smith, A. (2019). French cinema in the 1970s. Macnhester: Manchester University Press.
• Smith, T. Henderson, J. (2008). Attentional synchrony in static and dynamic scenes. Journal of Vision, 8(6).
• Sutherland, I. (1965). The Ultimate Display. In: Proceedings of the IFIPS Congress. New York: IFIP, pp. 506-508.
• Sutherland, I. (1968). A head-mounted three dimensional display. In: AFIPS Proceedings of the joint computer conference, pp. 757-764.
• Tekgün, E. & Erdeniz, B. (2020). Bedensel Öz-Bilincin Nörolojik Temelleri ve İlişkili Psikopatolojiler. Current Approaches in Psychiatry, 12, pp. 32-53.
• Vosmeer, M., & Schouten, B. (2017). Project Orpheus A Research Study into 360° Cinematic VR. In: TVX '17: Proceedings of the 2017 ACM International Conference on Interactive Experiences for TV and Online Video, New York: Association for Computing Machinery, pp. 85-90.
• Great Performers: LA Noir (2016) Directed by Ami Canaan Mann, Gina Prince-Bythewood, Armando Kirwin. USA: Milk VR.
• HELP (2015) Directed by Justin Lin. USA: Bullitt, Google Spotlight Stories, YOMYOMF Network.
• I, Philip (2016) Directed by Pierre Zandrowicz. Paris: Okio-Studio
• Gone in 360 seconds (2016) Directed by Stuart Bender, Brandon D’Silva. USA: Virtual Guest.
• IT: FLOAT - A Cinematic VR Experience (2017) USA: SunnyBoy Entertainment.
• Carne y Arena (2017) Directed by Alejandro G.Iñárritu. California: Legendary Entertainment.
• Pearl (2016) Directed by Patrick Osborne. USA: Google Spotlight Stories.
• Witness 360: 7/7 (2015) Directed by Darren Emerson. UK: Darren Emerson for East City Films Ltd.
• Ex Anima Experience (2019) Directod by Bartabas, Pierre Zandrowicz. France: ARTE.
• Kinoautomat (1967) Directed by Radúz Cincera and Ján Rohác. Czechoslovakia.