Relevant bibliographies by topics / Interactive Fiction in Cinematic Virtual Reality

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  2. Dissertations / Theses
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  4. Book chapters
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Academic literature on the topic 'Interactive Fiction in Cinematic Virtual Reality'

Author: Grafiati
Published: 9 March 2023

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Journal articles on the topic "Interactive Fiction in Cinematic Virtual Reality"

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Reyes, María Cecilia, and Giuliana Dettori. "Developing a Media Hybridization based on Interactive Narrative and Cinematic Virtual Reality." Ekphrasis. Images, Cinema, Theory, Media 22, no. 2 (November 27, 2019): 131–51. http://dx.doi.org/10.24193/ekphrasis.22.8.

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Grmusa, Lovorka Gruic. "“Cinematic” Gravity’s Rainbow: Indiscernibility of the Actual and the Virtual." Open Cultural Studies 1, no. 1 (November 27, 2017): 257–69. http://dx.doi.org/10.1515/culture-2017-0023.

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Abstract Acknowledging that all media interpenetrate without any one being privileged as original, this paper focuses on the influence and omnipresence of screen technologies, cinematography in particular, asserting its capacities to act as a dominant technological and cultural force, which surveys and controls the economy, affects human consciousness, and implements its own ideologically tainted reality. More specifically, the analysis demonstrates the impact of cinematography within Thomas Pynchon’s Gravity’s Rainbow, emphasizing intermedial reflexivity from screen to paper, its unfolding and animation, representations and mutations, but also the notion that virtuality dominates actuality (Virilio, The Vision 63), or, in Deleuze’s terms, the two coalesce within the crystal-image, for the real and the imaginary, the actual and the virtual, although distinct, are indiscernible (Deleuze, Cinema 2 68-69). The study is grounded in Paul Virilio’s theoretical framework and his criticism of the colonization of the real by the virtual, and in Gilles Deleuze’s account on cinematic taxonomy and how cinematography partakes in the emergence of a new notion of reality and history. By appropriating, repurposing, and reshaping the techniques, forms, and contents of cinematography, and at the same time being critical of its effects, Pynchon uses paper surface for transition of his ideas, validating the repercussions of intermediation as a cultural force and unveiling literature’s performativity, its ability to shelter/entertain the “cinematic,” which in turn revolutionizes and animates fiction.
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Adams, Don. "The Creativity that Drives the World." Process Studies 48, no. 2 (2019): 219–38. http://dx.doi.org/10.5840/process201948216.

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This essay contends that reality is a creative evolutionary process by which the virtual is transformed into the actual and argues that our critical conception of realism in literature needs to be altered to reflect this purposive and progressive living reality in contrast to the static and dead actuality assumed by the conventional notion of realism as mimesis. Realist fiction writers who are profound creators have strategically employed metaphysically dipolar and ethically earnest literary genres in tandem with mimetic realism, resulting in complexly interactive alternative and prophetic realisms that function as catalytic agents for progressive change in our world.
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Adams, Don. "The Creativity that Drives the World: Prophetic Realism." Process Studies 48, no. 2 (October 1, 2019): 219–38. http://dx.doi.org/10.5406/processstudies.48.2.0219.

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Abstract This essay contends that reality is a creative evolutionary process by which the virtual is transformed into the actual and argues that our critical conception of realism in literature needs to be altered to reflect this purposive and progressive living reality in contrast to the static and dead actuality assumed by the conventional notion of realism as mimesis. Realist fiction writers who are profound creators have strategically employed metaphysically dipolar and ethically earnest literary genres in tandem with mimetic realism, resulting in complexly interactive alternative and prophetic realisms that function as catalytic agents for progressive change in our world.
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Corbella, Maurizio, and Anna Katharina Windisch. "Sound Synthesis, Representation and Narrative Cinema in the Transition to Sound (1926-1935)." Cinémas 24, no. 1 (February 26, 2014): 59–81. http://dx.doi.org/10.7202/1023110ar.

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Since the beginnings of western media culture, sound synthesis has played a major role in articulating cultural notions of the fantastic and the uncanny. As a counterpart to sound reproduction, sound synthesis operated in the interstices of the original/copy correspondence and prefigured the construction of a virtual reality through the generation of novel sounds apparently lacking any equivalent with the acoustic world. Experiments on synthetic sound crucially intersected cinema’s transition to synchronous sound in the late 1920s, thus configuring a particularly fertile scenario for the redefinition of narrative paradigms and the establishment of conventions for sound film production. Sound synthesis can thus be viewed as a structuring device of such film genres as horror and science fiction, whose codification depended on the constitution of synchronized sound film. More broadly, sound synthesis challenged the basic implications of realism based on the rendering of speech and the construction of cinematic soundscapes.
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Geslin, Erik, Olivier Olivier Bartheye, Colin Schmidt, Katy Tcha Tokey, Teerawat Kulsuwan, Salah Keziz, and Tanguy Belouin. "Bernardo Autonomous Emotional Agents Increase Perception of VR Stimuli." Network and Communication Technologies 5, no. 1 (January 6, 2020): 11. http://dx.doi.org/10.5539/nct.v5n1p11.

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Video games are high emotional vectors. They play with the emotions of players by eliciting and increasing them. The importance of the induction of basic emotions has been a long forestay and is favoured by video game publishers, as they are quite easily mobilized. Video game publishers look to produce more complex social emotions like empathy, and compassion. In games framework with narrative context, designers frequently use cinema movies methods, like cinematic non-interactive Cutscenes. These methods temporarily exclude the player from interactivity to leave his first viewpoint view and move the camera focusing on the narrative stimuli. Cutscenes were used abundantly and are now rejected, the new development wave is often trying to develop in a “zero cinematic” way. For the same reason, cinematics are also not usable in new Virtual Reality. If VR games and simulations provides a high level of presence, VR environments needs certain rules related in particular to the continuation of free will and the avoidance of possible Break in Presence. We propose in this paper a concept of Emotionally Intelligent Virtual Avatars, which when they perceive an important narrative stimulus, share their emotions through, gestures, facial nonverbal expressions, and declarative sentences to stimulate the player's attention. This will lead players to focus on the narrative stimuli. Our research studies the impact of the use of Bernardo Agents Emotional Avatars involving n = 51 users. The statistical analysis of the results shows a significant difference in the narrative perception of the stimuli and in Presence, correlated to the use of Agents Bernardo. Overall, our emotional Agent Bernardo is a unique concept for increasing the perception of narrative stimuli in virtual environments using HMD, and may be useful in all virtual environments using an emotional narrative process.
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Dowling, David O. "Documentary games for social change: Recasting violence in the latest generation of i-docs." Catalan Journal of Communication & Cultural Studies 12, no. 2 (October 1, 2020): 287–99. http://dx.doi.org/10.1386/cjcs_00033_1.

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The evolutionary trajectory of digital journalism has been fuelled by the convergence of visual storytelling unique to documentary filmmaking with the graphics and procedural rhetoric of digital games. The reciprocal influences between gaming and documentary forms coalesce in this new highly engaging interactive journalism. This research demonstrates how game mechanics, design and logics combine with cinematic storytelling conventions in documentary games published since 2014. As forms of civic engagement more intimate and immersive than traditional print and broadcast journalism, documentary games leverage alternative depictions of violence for social critique. Case studies examine products of independent developers including the documentary games We Are Chicago by Culture Shock Games and iNK Stories’ 1979 Revolution: Black Friday along with its related vérité virtual reality experience, Blindfold. These cases represent major advances in the activist depiction of oppressed populations in narrative documentary journalism. All these projects feature atypical video game protagonists anathema to those of mainstream games.
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Douglas, J. Yellowlees. "Where the Senses Become a Stage and Reading Is Direction: Performing the Texts of Virtual Reality and Interactive Fiction." TDR (1988-) 37, no. 4 (1993): 18. http://dx.doi.org/10.2307/1146290.

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Mosselaer, Nele Van de. "How Can We Be Moved to Shoot Zombies? A Paradox of Fictional Emotions and Actions in Interactive Fiction." Journal of Literary Theory 12, no. 2 (September 3, 2018): 279–99. http://dx.doi.org/10.1515/jlt-2018-0016.

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Abstract How can we be moved by the fate of Anna Karenina? By asking this question, Colin Radford introduced the paradox of fiction, or the problem that we are often emotionally moved by characters and events which we know don’t really exist (1975). A puzzling element of these emotions that always resurfaced within discussions on the paradox is the fact that, although these emotions feel real to the people who have them, their difference from ›real‹ emotions is that they cannot motivate us to perform any actions. The idea that actions towards fictional particulars are impossible still underlies recent work within the philosophy of fiction (cf. Matravers 2014, 26 sqq.; Friend 2017, 220; Stock 2017, 168). In the past decennia, however, the medium of interactive fiction has challenged this crystallized idea. Videogames, especially augmented and virtual reality games, offer us agency in their fictional worlds: players of computer games can interact with fictional objects, save characters that are invented, and kill monsters that are clearly non-existent within worlds that are mere representations on a screen. In a parallel to Radford’s original question, we might ask: how can we be moved to shoot zombies, when we know they aren’t real? The purpose of this article is to examine the new paradox of interactive fiction, which questions how we can be moved to act on objects we know to be fictional, its possible solutions, and its connection to the traditional paradox of fictional emotions. Videogames differ from traditional fictional media in that they let their appreciators enter their fictional worlds in the guise of a fictional proxy, and grant their players agency within this world. As interactive fictions, videogames reveal new elements of the relationship between fiction, emotions, and actions that have been previously neglected because of the focus on non-interactive fiction such as literature, theatre, and film. They show us that fictional objects can not only cause actions, but can also be the intentional object of these actions. Moreover, they show us that emotions towards fictions can motivate us to act, and that conversely, the possibility of undertaking actions within the fictional world makes a wider array of emotions towards fictional objects possible. Since the player is involved in the fictional world and responsible for his actions therein, self-reflexive emotions such as guilt and shame are common reactions to the interactive fiction experience. As such, videogames point out a very close connection between emotions and actions towards fictions and introduce the paradox of interactive fiction: a paradox of fictional actions. This paradox of fictional actions that is connected to our experiences of interactive fiction consists of three premises that cannot be true at the same time, as this would result in a contradiction: 1. Players act on videogame objects. 2. Videogame objects are fictional. 3. It is impossible to act on fictional objects. The first premise seems to be obviously true: gamers manipulate game objects when playing. The second one is true for at least some videogame objects we act upon, such as zombies. The third premise is a consequence of the ontological gap between the real world and fictional worlds. So which one needs to be rejected? Although the paradox of interactive fiction is never discussed as such within videogame philosophy, there seem to be two strategies at hand to solve this paradox, both of which are examined in this article. The first strategy is to deny that the game objects we can act on are fictional at all. Espen Aarseth, for example, argues that they are virtual objects (cf. 2007), while other philosophers argue that players interact with real, computer-generated graphical representations (cf. Juul 2005; Sageng 2012). However, Aarseth’s concept of the virtual seems to be ad hoc and unhelpful, and describing videogame objects and characters as real, computer-generated graphical representations does not account for the emotional way in which we often relate to them. The second solution is based on Kendall Walton’s make-believe theory, and, similar to Walton’s solution to the original paradox of fictional emotions, says that the actions we perform towards fictional game objects are not real actions, but fictional actions. A Waltonian description of fictional actions can explain our paradoxical actions on fictional objects in videogames, although it does raise questions about the validity of Walton’s concept of quasi-emotions. Indeed, the way players’ emotions can motivate them to act in a certain manner seems to be a strong argument against the concept of quasi-emotions, which Walton introduced to explain the alleged non-motivationality of emotions towards fiction (cf. 1990, 201 sq.). Although both strategies to solve the paradox of interactive fiction might ultimately not be entirely satisfactory, the presentation of these strategies in this paper not only introduces a starting point for discussing this paradox, but also usefully supplements and clarifies existing discussions on the paradoxical emotions we feel towards fictions. I argue that if we wish to solve the paradox of actions towards (interactive) fiction, we should treat it in close conjunction with the traditional paradox of emotional responses to fiction.
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Kalawsky, Roy, and Graeme Simpkin. "Automating the Display of Third Person/Stealth Views of Virtual Environments." Presence: Teleoperators and Virtual Environments 15, no. 6 (December 1, 2006): 717–39. http://dx.doi.org/10.1162/pres.15.6.717.

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In order to gain a greater insight into the relationships that exist between entities in three-dimensional (3D) datasets, the scientific, engineering, and arts communities are increasingly using interactive visualization and virtual reality (VR) techniques. They have realized that interactively visualizing 3D datasets from different viewpoints makes it possible to achieve a better understanding of the underlying dataset structure. Viewpoints can be either static or dynamic as in an interactive fly-through. However, unskilled users often select flight paths (or viewing situations) that cause nauseous effects that detrimentally distract the user from the task at hand. Interactions between multiple users or virtual agents in a virtual environment present further challenges because it is necessary for the user to monitor multiple activities concurrently. If the user has to make decisions based on what is taking place in a complex virtual environment, then it is very important that correct and appropriate viewpoints are maintained. For example, flight simulator debriefing tools require first and third person viewing so that the actions that have taken place can be understood. In these situations there is a need to select multiple viewpoints for each participant. Consequently (because of the high cognitive load), maintaining control over a number of different viewpoints is very challenging. Within this paper the authors describe the real-time automatic display controller they have developed for third person/stealth views of a multi-participant virtual environment—where it is important for users to gain a global and localized understanding of the tasks being performed. They discuss important cinematic conventions and how these are set in the context of characterizing a 3D communication medium, as well as determining their role for optimal viewing parameters. The real time automatic display controller is of particular benefit to applications such as scientific visualization, flight simulation, engineering/architectural modeling, scene of accident reconstruction/analysis, and other complex human-system behavior analysis applications.
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Dissertations / Theses on the topic "Interactive Fiction in Cinematic Virtual Reality"

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Wu, Hui-Yin. "Cinematic discourse for interactive 3D storytelling." Thesis, Rennes 1, 2016. http://www.theses.fr/2016REN1S097/document.

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Cette thèse porte sur les propriétés du discours de la caméra virtuelle autour de trois axes: le temps, l'histoire, et la présentation visuelle. Nous nous répondrons principalement à la question sur la façon d'analyser, d'exploiter des données, et de générer automatiquement des arrangements temporels de l'histoire et des contenus visuels. Nos techniques proposées peuvent être appliquées aux problèmes de planification automatique de la caméra dans des environnements 3D, et ouvrent des perspectives pour l'analyse cognitive du cinéma et de la narration visuelle
This thesis concerns the discourse properties of cinematographic storytelling around three axes: time, story, and visual presentation. We address the question of how to analyse and gain knowledge from data, and automatically generate temporal arrangements of story and their visual content. We work with actual film data to understand the good practices of visual storytelling. The techniques in this thesis target applications to automatic camera planning problems in 3D environments, and also open perspectives for cognitive analysis of film and visual storytelling
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Tsakoumi, Aliki. "Extended Experiences : Film and Performance Practices in VR/AR." Thesis, Stockholms konstnärliga högskola, Institutionen för film och media, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-856.

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This is a fascinating time of digital media and new technologies. They offer immersion and interaction and they challenge us, as creators, to work in alternative ways, create more space for the audience and develop our ideas across media while staying true to our artistic principles. During my research, I developed a body of work that includes films, VR, AR, film and stand up comedy as a way to investigate cross-fertilisation in the creative field between different formats, practices and individuals.

This is the written part of the research and is supplementing the exposition in Research Catalogue.

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Platero, Vázquez Carmen. "Objetos mágicos: los objetos como transformadores de la Subjetividad virtual en la creación de aventuras interactivas en sistemas de realidad mixta." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/352714.

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Dentro de las experiencias interactivas en tiempo real, y en concreto de los sistemas de realidad mixta, buscamos nuevas formas de comunicación en la ficción interactiva que enriquezcan la experiencia de usuario. Partimos de la Narratología y de ciertos objetos arquetípicos que podríamos considerar mágicos, cuyos usos y propiedades otorgan a los protagonistas de las historias poderes y potencial para convertirse en héroes y abrir un pasaje al mundo de la aventura. Estos objetos cotidianos, son extraídos de las historias y convertidos en tangibles, permitirán al usuario dentro de la experiencia interactiva tener una interacción “natural” que le animará a descubrir nuevos potenciales mediante la acción, mientras es guiado y involucrado en la aventura, convirtiéndolo en el protagonista de la ficción. Para ello introducimos la Subjetividad virtual, modelo de interacción con el que diseñaremos la experiencia de acuerdo a su punto de vista que será transformado a lo largo del viaje a través de la utilización de los objetos. El resultado es una nueva forma de concebir la interacción en la utilización de objetos como elementos narrativos dentro de los sistemas de realidad mixta. Con una guía y un modelo de interacción renovado que parten de las especificidades del medio, se aportan herramientas analíticas y de producción para aquellos creadores y diseñadores que deseen trabajar en este mismo marco dentro las experiencias interactivas en tiempo real.
Within the context of interactive systems that generate stimuli in real time, we are searching for new forms of communication in adventure fiction that may improve user experience. To this end, we have taken from Narratology, archetypal objects that one may identify as “magic”, the uses and properties of which often provide powers and potential to the protagonists of stories to evolve into heroes and open a door to the world of adventure. These everyday objects, taken from stories and converted into tangible objects, allow the user, within an interactive experience, to have a “natural” interaction that encourages discovering new potential through action, while guiding and involving her in the adventure and transforming her into the protagonist of the fiction experience. The Virtual Subjectiveness, as an interaction design model, provides the user with coherent point of view that is transformed along the journey by the use of these special objects. This conforms an original view on everyday objects as narrative engines within real time generated experiences. A guide for interaction design and a renewed model of interaction based on specifications of the medium provide designers and authors with analytic and production tools for creating interactive experiences into the same framework.
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Andrade, Tânia Esteves de. ""Tell a Tail": the design of an interactive cinematic VR for an animal welfare transmedia." Master's thesis, 2020. http://hdl.handle.net/10400.13/2760.

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Tell a Tail 360 is a Virtual Reality (VR) documentary, part of a larger transmedia project about animal welfare in Madeira island, created to educate, raise awareness and spread the love for the animals, targeting teenage audiences. The literature review and the context research surveys suggest that younger audiences are more likely to change their behaviours than adults. Moreover, the majority of people are interested in the topic of animal welfare (AW) although not always aware of its complexity (e.g., lack of responsibility of ownership or lack of education on proper animal treatment). Over several months, 360º footage was recorded showing different perspectives of the problem through contact with different stakeholders. Later, the footage was used in the design of an interactive VR documentary highlighting kennels’ conditions, Non-governmental organizations fieldwork, and the importance of providing primary care to pets. The user explores the story through different media sources inside the virtual world, such as social media posts, photography and audio. These interactive features provide users with the opportunity to unfold the story through their choices, promoting exploration and contemplation of the subject and were designed to increase audience engagement and agency in the experience. Through A/B user testing conducted with two groups of adolescents (in which one tested a non-VR version of the documentary and the other group the VR version), findings suggest that the immersive version generated greater interest and involvement in the problem addressed. This thesis project can provide new insights on how interactive and immersive content can engage the teenage audience to a more significant awareness of good animal welfare behaviours and other social problems.
Tell a Tail 360 é um documentário em realidade virtual (RV), parte de um projeto transmedia cujo tema é o bem-estar dos animais na ilha da Madeira. Tem como objetivos educar, consciencializar e espalhar o amor pelos animais em público adolescente. Com base na revisão da literatura e nas pesquisas feitas, concluiu-se que o público mais jovem tem maior probabilidade para mudar os seus comportamentos do que os adultos e de que apesar da maioria das pessoas mostrar interesse pelo assunto abordado, nem sempre tem perceção da sua complexidade (ex.: a falta de responsabilidade dos donos ou a falta de educação sobre o tratamento adequado a dar aos animais). Durante vários meses, foram recolhidos vídeos em 360º através da cooperação com entidades que trabalham em prol da causa animal, mostrando diferentes perspetivas deste problema social. Posteriormente, esses vídeos foram usados para criar um documentário interativo que destaca as condições dos canis, o trabalho de campo das organizações não governamentais e a importância de prover os cuidados básicos aos animais de estimação. A experiência do utilizador foi projetada para que este pudesse explorar a história através de diferentes medias dentro do mundo virtual, tais como publicações retiradas de redes sociais, fotografias e som. Estas características interativas provêm ao utilizador a oportunidade de descobrir a história através das suas escolhas, promovendo a exploração e contemplação do assunto, aumentando o envolvimento e a ação do público na experiência. Através de testes de utilizador A/B conduzidos com dois grupos de adolescentes, em que um grupo testou uma versão não RV do documentário e o outro grupo a versão RV, concluiu-se que a versão imersiva originou um maior interesse e envolvimento no problema abordado. O projeto desta tese contribuiu com novas ideias sobre como usar conteúdo interativo e imersivo pode envolver o público adolescente e consciencializar para o bem-estar animal bem como outros problemas sociais.
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Candusso, Damian. "Dislocations in sound design for 3-d films: sound design and the 3-d cinematic experience." Phd thesis, 2015. http://hdl.handle.net/1885/15862.

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Since the success of James Cameron’s Avatar (2009),1 the feature film industry has embraced 3-D feature film technology. With 3-D films now setting a new benchmark for contemporary cinemagoers, the primary focus is directed towards these new stunning visuals. Sound is often neglected until the final filmmaking process as the visuals are taking up much of the film budget. 3-D has changed the relationship between the imagery and the accompanying soundtrack, losing aspects of the cohesive union compared with 2-D film. Having designed sound effects on Australia’s first digital animated 3-D film, Legend of the Guardians: The Owls of Ga’Hoole (2010),2 and several internationally released 3-D films since, it became apparent to me that the visuals are evolving technologically and artistically at a rate far greater than the soundtrack. This is creating a dislocation between the image and the soundtrack. Although cinema sound technology companies are trialing and releasing new ‘immersive’ technologies, they are not necessarily addressing the spatial relationship between the images and soundtracks of 3-D digital films. Through first hand experience, I question many of the working methodologies currently employed within the production and creation of the soundtrack for 3-D films. There is limited documentation on sound design within the 3-D feature film context, and as such, there are no rules or standards associated with this new practice. Sound designers and film sound mixers are continuing to use previous 2-D work practices in cinema sound, with limited and cautious experimentation of spatial sound design for 3-D. Although emerging technologies are capable of providing a superior and ‘more immersive’ soundtrack than previous formats, this does not necessarily mean that they provide an ideal solution for 3-D film. Indeed the film industry and cinema managers are showing some resistance in adopting these technologies, despite the push from technology vendors. Through practice-led research, I propose to research and question the following:Does the contemporary soundtrack suit 3-D films? ; Has sound technology used in 2-D film changed with the introduction of 3-D film? If it has, is this technology an ideal solution, or are further technical developments needed to allow greater creativity and cohesiveness of 3-D film sound design? ; How might industry practices need to develop in order to accommodate the increased dimension and image depth of 3-D visuals? ; Does a language exist to describe spatial sound design in 3-D cinema? ; What is the audience awareness of emerging film technologies? And what does this mean for filmmakers and the cinema? ; Looking beyond contemporary cinema practices, is there an alternative approach to creating a soundtrack that better represents the accompanying 3-D imagery?
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Silva, Maria Rui Gomes Livramento. "Tendências do Documentário Interativo: Fronteiras entre a Ficção e a Realidade." Master's thesis, 2019. http://hdl.handle.net/10362/87725.

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O documentário interativo é um dos mais recentes formatos emergentes no mundo do jornalismo. Cada vez mais se procuram novas formas de abranger o espectador aos temas através da imersão, da sensação de being there, e o jornalismo tem vindo a utilizar a tecnologia como uma ferramenta dinâmica para atrair o sujeito aos temas da atualidade. O documentário, com influências no cinema, e a interatividade são domínios que se fundem para criar um novo método jornalístico. A presente dissertação tem como objetivo analisar as características editoriais e éticas dos documentários interativos aplicados ao jornalismo, passando por uma investigação ao mundo do documentário clássico no cinema e no jornalismo, e a interatividade aplicada ao género documental. As principais questões de investigação são “Quais as características editoriais dos i-docs aplicados ao jornalismo?”; “De que forma é construída a narrativa?”; “Quais os limites éticos, no que respeita à verdade e à sua manipulação”. Concluímos que, existem de facto características que podem delinear o género de documentário e documentário interativo, assim como o documentário aplicado ao jornalismo, no entanto, estas não são regras de um género e ajustáveis a qualquer projeto.
Interactive documentaries are one of the new formats emerging in journalism. New approaches to lure the spectator to the new subjects through immersion, the being there sensation, are frequently used, and journalism has been using technology as a dynamic tool to engage the subject to today’s issues. Documentary, influenced by cinema, and interactivity are two fields that merge to create a new journalistic method. The current essay intends to develop the editorial and ethic features in i-docs in the journalistic context, through an investigation based on the classic documentary in cinema and journalism, and the interactivity imposed to the documental genre. The basic investigation questions are “What are the editorial characteristics in i-docs applied to journalism?”; “ How is the narrative built?”; “What are the ethical limits referring to truth and its manipulation?”. In conclusion, we agreed that we can define features in documentary, in interactive documentary and in documentary applied to journalism, however these are not rules that define a genre and the characteristics are adjustable, depending on the project.
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Books on the topic "Interactive Fiction in Cinematic Virtual Reality"

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Les fictions hypermédiatiques: Mondes fictionnels et espaces ludiques : des arts de mémoire au cyberespace. Montréal: Le Quartanier, 2010.

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Reyes, Maria Cecilia. Interactive Fiction in Cinematic Virtual Reality: Towards the Immersive Interactive Movie. Mimesis Edizioni, 2021.

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(Editor), Kurt Lancaster, and Thomas J. Mikotowicz (Editor), eds. Performing the Force: Essays on Immersion into Science-Fiction, Fantasy and Horror Environments. McFarland & Company, 2001.

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Glassner, Andrew. Interactive Storytelling: Techniques for 21st Century Fiction. CRC Press LLC, 2017.

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Glassner, Andrew. Interactive Storytelling: Techniques for 21st Century Fiction. CRC Press LLC, 2017.

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Interactive Storytelling: Techniques for 21st Century Fiction. AK Peters, 2004.

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Interactive Storytelling: Techniques for 21st Century Fiction. CRC Press LLC, 2017.

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Chris Crawford on Interactive Storytelling (New Riders Games). New Riders Games, 2004.

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Book chapters on the topic "Interactive Fiction in Cinematic Virtual Reality"

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Reyes, Maria Cecilia. "Measuring User Experience on Interactive Fiction in Cinematic Virtual Reality." In Interactive Storytelling, 295–307. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-04028-4_33.

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Rothe, Sylvia, and Heinrich Hussmann. "Spaceline: A Concept for Interaction in Cinematic Virtual Reality." In Interactive Storytelling, 115–19. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-33894-7_12.

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Rothe, Sylvia, Mario Montagud, Christian Mai, Daniel Buschek, and Heinrich Hußmann. "Social Viewing in Cinematic Virtual Reality: Challenges and Opportunities." In Interactive Storytelling, 338–42. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-04028-4_37.

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Ko, Dong-uk, Hokyoung Ryu, and Jieun Kim. "Making New Narrative Structures with Actor’s Eye-Contact in Cinematic Virtual Reality (CVR)." In Interactive Storytelling, 343–47. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-04028-4_38.

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Ghuloum, Husain, and Zuwainah Al-lamki. "The Interactive Applications (IAs) in Academic Libraries: Challenges and Opportunities." In Digital Libraries [Working Title]. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.95767.

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Presentation tools of academic content are increasing in popularity for educators in Higher Education Institutions (HEI) who want to share ideas and information in a more creative and interactive environment using more effective tools and demand to involve. Interactive Applications are becoming lot more common and is more integrated into our everyday activities, like using mobile apps. The features of the Fourth Industrial Revolution (4IR) began to emerge through Interactive Applications (IAs) such as the applications of Augmented Reality (AR), Virtual Reality (VR), Mixed Reality (MR). Information resources development is no longer restricted and residing within the realm of speculative fiction. By using AR, VR and MR, academic libraries could already deliver a massive revolution in information retrieval. However, the biggest challenge that need to be tackled perhaps remains in how we could tune between these resources and the users so that the greatest possible benefit could be achieved in the light of accelerated technological development. This chapter uncovers the challenges and opportunities in using Interactive Applications (IAs) technologies and should be an eye opener for academic libraries that Interactive Applications technology are important to transform the use of traditional resources to interactive resources.
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"conservatism 105; referendum 103, tactility 7, 40, 104, 121–22; haptic space 106; separation 99; sovereignty 49, 110–11; interactive 10; association 105–6; speech of de interface 8; telephasis 89, 94 Gaulle 100; see also gaps in television 2, 7, 41, 54, 56–7, 63, 67, historical experience 87, 92, 122; écriture télévisuelle 43; tv object 93; in France 45–7; signals racism 108–9 48; primal time 53; Société nationale Régie française de publicité (RFP) 46 de télévision de la première chaîne reification 112–15; and contemplative (TF1) 44; tele-vision 87 attitude 115 theatre 83, 120; electric 101 reversibility 94–5 transinteractivity 11–12 Rome 4, 13 translation 118–20; and table of conversions 25–6 tribalism 4, 19, 41, 102; Africa 93, 108; schizophrenia 49, 112; and Afro-Americans 108–9; as archaic postmodernity 65 thought 107; like the Beatles 5, 103; science fiction 79, 121 different 106; drum 107–8; ear 107; semioclasty 75 exotic 106–7; electric 116; French semiologue 75 Canadian 5, 92; good savage 110; semiotrophy 76 and hippies 100, 106; liberalism 103; semiurgy 8, 64, 69–73, 76, 81, 86; and Native Americans 108–9; New Age artistic strategy 36, 74; as 109; retribalize 4, 116; savages 100; manipulation of signs 66; and territorialization 105 massage 8, 64, 68–9, 72; and metallurgy 71; pan-sémie 73; radical 65–8; media 68; -urgies/-logies 74 University of Nottingham 40 silent majorities 3 University of Toronto 8, 16, 34; simulacra 67, 85, 99, 112; simulacrum McLuhan Program in Culture and 3, 91; hyperreality 67, 70, 100; Technology 9, 11 orders 90–1, 112–13, 115 Situationist 83, 114 Virtual Reality Artists’ Access Program space studies 110–11; acoustic space (VRAAP) 10 7, 40, 51 virtual technology 71; and tactility 11 spectacle 12, 83 structuralism 18–20, 22, 25–6, 31, 25, war 3–4, 16–17, 26, 101; speed and 75; McLuhan as amateur implosion 95–7 structuralist 22; poststructuralism 38, 48 style 22–5 x-ray 26; see also figure and ground surfing 9 surrealism 58 year 2000 99, 103; see also pataphysics symbolic exchange 78–80, 85–6, York University 40 109–10, 112." In McLuhan and Baudrillard, 150. Routledge, 2002. http://dx.doi.org/10.4324/9780203005217-20.

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Conference papers on the topic "Interactive Fiction in Cinematic Virtual Reality"

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Reyes, María Cecilia, and Giuliana Dettori. "Combining Interactive Fiction with Cinematic Virtual Reality." In ARTECH 2019: 9th International Conference on Digital and Interactive Arts. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3359852.3359888.

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Tavares, Tatiana. "Paradoxical saints: Polyvocality in an interactive AR digital narrative." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.81.

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This artistic, practice-led PhD thesis is concerned with the potentials of polyvocality and interactive digital narrative. The practical project, Saints of Paradox, is constructed as a printed picture book that can be experienced through an Augmented Reality [AR] platform. The fictional story entails a woman who mourns the disappearance of her lover in the 1964 Brazilian coup d’état and lives for 40 years in a room of accumulated memories. IIn each illustration, the user can select three buttons on the tablet device that activates a different version of the story. Three narrators (saints) present interconnected but diverging interpretations of the events shaped by their distinct theological positions. The respective values of compassion, orthodoxy, and pragmatic realism distort details of imagery, sound, movement, and meaning. AR animated vignettes, each backed by a uniquely composed cinematic soundscape, allow characters to populate the luxuriously illustrated world. Candles flicker and burn, snakes curl through breathing flowerbeds, and rooms furnished with the contents of accumulated memories pulsate with mystery. The scanned image reviews an interactive parallax that produces a sense of three-dimensional space, functioning as a technical and conceptual component. Theoretically, the story navigates relationships between the real and the imagined and refers to magical real binary modes of textual representation (Flores, 1955, Champi, 1980; Slemon, 1988, 1995; Spindler, 1993; Zamora and Faris; 1995; Bowers, 2004). Here, meaning negotiates an unreliable, sometimes paradoxical pathway between rational and irrational accounting and polyvocal narration. The dynamics between the book and the AR environments produce a sense of mixed reality (actual and virtual). The narrative experience resides primarily in an unstable virtual world, and the printed book functions as an enigmatic unoccupied vessel. Because of this, we encounter a sense of ontological reversal where the ‘virtual’ answers the ambiguities presented by the ‘real’ (the book). In the work, religious syncretism operates as a reference to Brazilian culture and an artistic device used to communicate a negotiation of different voices and points of view. The strange and somehow congruous forms of European, African, and indigenous influences merge to form the photomontage world of the novel. Fragments of imagery may be considered semiotic markers of cultural and ideological miscegenation and assembled into an ambiguous ‘new real’ state of being that suggests syncretic completeness. Methodologically, the project emanates from a post-positivist, artistic research paradigm (Klein, 2010). It is supported by a heuristic approach (Douglass and Moustakas, 1985) to the discovery and refinement of ideas through indwelling and explicitness. Thus, the research draws upon tacit and explicit knowledge in developing a fictional narrative, structure, and stylistic treatments. A series of research methods were employed to assess the communicative potential of the work. Collaboration with other practitioners enabled high expertise levels and provided an informed platform of exchange and idea progression.
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Rothe, Sylvia, Boris Kegeles, and Heinrich Hussmann. "Camera Heights in Cinematic Virtual Reality." In TVX '19: ACM International Conference on Interactive Experiences for TV and Online Video. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3317697.3323362.

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Rothe, Sylvia, Kim Tran, and Heinrich Hußmann. "Dynamic Subtitles in Cinematic Virtual Reality." In TVX '18: ACM International Conference on Interactive Experiences for TV and Online Video. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3210825.3213556.

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Probst, Pia Carola, Sylvia Rothe, and Heinrich Hussmann. "Camera Distances and Shot Sizes in Cinematic Virtual Reality." In IMX '21: ACM International Conference on Interactive Media Experiences. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3452918.3458804.

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Bevan, Chris, and David Green. "A Mediography of Virtual Reality Non-Fiction." In TVX '18: ACM International Conference on Interactive Experiences for TV and Online Video. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3210825.3213557.

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