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Viewer's Role and Viewer Interaction in Cinematic Virtual Reality

Lingwei Tong, Robert W. Lindeman, Holger Regenbrecht
2021 Computers  
Cinematic Virtual Reality (CVR) is a form of immersive storytelling widely used to create engaging and enjoyable experiences.  ...  We also discuss two properties to consider when enabling interaction in CVR, the depth of impact and the visibility.  ...  Introduction The term Cinematic Virtual Reality (CVR) can be defined as a type of experience where the viewer watches omnidirectional movies using head-mounted displays (HMD) or other Virtual Reality (  ... 
doi:10.3390/computers10050066 fatcat:q4qhtktg6bf7fizu2ewsglhqhi

Spatial Narration. Film Scenography Using Stereoscopic Technology [chapter]

Luisa Feiersinger, Luisa Feiersinger, Kathrin Friedrich, Moritz Queisner
2018 Image – Action – Space  
If the screen is a plane on which images are displayed in order to view them, then what precisely happens to the screen in those films that are presented under the catchphrase 3-D?  ...  The viewer is able to perceive a visual space that is not merely restricted to the plane of the screen, but expands in front and behind it.  ...  , pp. 133-145. 13 Anderson 2011 (as fn. 10), TC: 00.22.02-00.23.04.shot, while the room spreads out in positive parallax in the background around them.For attentive film audiences, this specific mise-en-scène  ... 
doi:10.1515/9783110464979-006 fatcat:vhjprk6tcbbz3gectiln3psica

Camera Arriving at the Station: Cinematic Memory as Cultural Memory

Russell Kilbourn
2013 Societies  
Additionally, as Barbara Mennel has recently shown, the advent in Europe of trains and time zones, in their transformation of modern time and space, paved the way for cinema's comparably cataclysmic impact  ...  Both films, thus, in their different ways employ cinematic remediation as a form of cultural memory whose nostalgia for cinema's past is rendered with the latest digital effects, hidden in plain sight  ...  Ever since Man with a Movie Camera [28] , another foundational city film (Kiev, Moscow, Odessa), in which Dziga Vertov puts his cameraman right into the frame, as part of the mise-en-scène, the cinematic  ... 
doi:10.3390/soc3030316 fatcat:l7tw7pzz5bbvfeiwunpmrlpxcy

Feminist Worlding and World Cinema: The Case of Małgorzata Szumowska

Aga Skrodzka
2022 Studies in World Cinema  
Close analysis of Szumowska's film The Other Lamb (2019) traces the role of monstration and mise en scène in creating emancipatory cinema.  ...  , the project examines the function of cinematic world building and its potential connection to World Cinema and feminist filmmaking.  ...  Also, I am indebted to the anonymous Reviewer 2, whose comprehensive critique made this article infinitely better.  ... 
doi:10.1163/26659891-bja10007 fatcat:rbhl2huyl5a6hbnpe737ynkll4

Charcoal Matter with Memory: Images of Movement, Time and Duration in the animated films of William Kentridge

David H. Fleming
2013 Film-Philosophy  
, and a series of diegetic scenes that bring the actual and virtual into relation so that 'crystal-images' of time in its pure state are dislodged.  ...  These I relate to a concept of temporal thickness emerging via artistic images of 'contraction', a movement-image form that exposes geologically compressed time-lines 'insisting' between projected frames  ...  On one level, this scene of several artworks within an artwork provides an expressive image of artistic mise-en-abyme, at once reflecting the actual scene of Kentridge himself standing within his own art  ... 
doi:10.3366/film.2013.0023 fatcat:3bd6evdnorfxzmseszghg2jzse

The Discourse Community's Cut [chapter]

Bernard Perron, Hugo Montembeault, Andréane Morin-Simard, Carl Therrien
2019 Intermedia Games—Games Inter Media  
mise en sc è ne " would also fi t.  ...  Indeed, according to the famous French fi lmmaker and essayist Jean-Luc Godard, in cinema, "talking of mise en sc è ne automatically implies montage." 5 From the Soviet fi lmmakers of the 1920s to the  ... 
doi:10.5040/9781501330520.ch-002 fatcat:7nraxk3i25gepnmdrwkoo7ofui

Realist cinema as World Cinema 1 [chapter]

Lúcia Nagib
2017 The Routledge Companion to World Cinema  
Figure 1 . 1 Cinematic self-negation mise-en-abyme: Jafar Panahi attempts to turn his film into real life (This is Not a Film, 2011).  ...  Figure 1 . 1 Cinematic self-negation mise-en-abyme: Jafar Panahi attempts to turn his film into real life (This is Not a Film, 2011).  ... 
doi:10.4324/9781315688251-26 fatcat:2726ryodbvd6tkz2nzv2unldwq

History, Cultural Memory and Intermediality in Radu Jude's Aferim!

Judit Pieldner
2016 Acta Universitatis Sapientiae: Film and Media Studies  
Through its ingenuous (inter)medial solutions (black-and-white film, with an implied media-archaeological purport; period mise en scène but with an assumed artificiality and constructedness; a simple linear  ...  ; instead, it goes back in history to a much earlier period, to the Romanian ancien régime, after the Ottoman occupation and before the abolition of Gypsy slavery, only to point at the historical roots  ...  returns to premodern times but not with the above-mentioned disposition of the heritage film. In terms of period mise en scène and authenticity of period detail, Aferim!  ... 
doi:10.1515/ausfm-2016-0016 fatcat:xorrz4no3ja6tbc46yk2ceihry

Systems, Architecture & The Digital Body: FromAlphavilletoThe Matrix

Debra Benita Shaw
2008 Parallax  
Acknowledgements Sincere thanks to Debby Ray, RIBA, AIA for help and advice with the architectural aspects of this paper.  ...  speak from his diaphragm. xiv In the context of the film's mise en scène it is a voice that is literally disembodied, being both everywhere and nowhere, while still (almost) recognisably human.  ...  Steven Shaviro, in his introduction to The Cinematic Body discusses the cinematic experience in terms of 'visceral immediacy' and is concerned to explore spectator response in terms of affects at the level  ... 
doi:10.1080/13534640802159153 fatcat:wmtvwtz6bncavi7wkhssnvlkja

Electronic Screens in Film Diegesis: Modality Modes and Qualifying Aspects of a Formation Enhanced by the Post-digital Era [chapter]

Andrea Virginás
2020 Beyond Media Borders, Volume 1  
However, one should consider this intermediary screenic formation as a complex and versatile audiovisual and narrative method that could have emerged in this frequency only in our current post-digital  ...  The proliferation of television screens, video monitors and computer or mobile screens in film diegetic worlds is an apparently simple numeric increase of certain objects within the filmed space, conditioned  ...  , more blurry image, in a mise-en-abyme-type structure.  ... 
doi:10.1007/978-3-030-49679-1_4 fatcat:gehb4fpwtrhexmps5dxrvxut4q

Un cinéma en devenir :

Wei-chu Shih
2020 Entrelacs  
Mateer, John, « Direction for Cinematic Virtual Reality: how the traditional film. director's craft applies to immersive environments and notion of presence », Journal of Media Practice, Vol 18, N°1,  ...  La mise en scène théâtrale permet au spectateur d'observer les détails décoratifs, les moindres actions prenant place dans les différentes zones de la scène.  ... 
doi:10.4000/entrelacs.5937 fatcat:25svatiuwrc7pmzthc2iveycvu

Magic Realism, Minimalist Realism and the Figuration of the Tableau in Contemporary Hungarian and Romanian Cinema

Judit Pieldner
2016 Acta Universitatis Sapientiae: Film and Media Studies  
attracted to creating austere, micro-realistic universes.  ...  The paper surveys two modes of representation present in contemporary Hungarian and Romanian cinema, namely magic realism and minimalist realism, as two ways of rendering the "real" in the Central Eastern  ...  The tableau is always able to bring forth the intermediality of cinema as a productive in-betwenness, assigning the form of one medium (e.g. painting, photography, theatrical mise-en-scène) to act as a  ... 
doi:10.1515/ausfm-2016-0005 fatcat:ucgs6lxuzrfb5m2jvefh6mo7ya

Live from the Met: Medium Theory and Digital Broadcast Cinema

Paul Heyer
2008 Canadian Journal of Communication  
The author coins the term "digital broadcast cinema" (DBC) to refer to the virtual experience of seeing a live opera on a big screen in high definition.  ...  L'auteur formule l'expression « cinéma numérique radiodiffusée » pour décrire l'expérience virtuelle de voir un opéra présenté au grand écran en direct et en haute définition.  ...  Those of us who know CJC editor Kim Sawchuk are aware of her interest in the links between communication studies and the arts.  ... 
doi:10.22230/cjc.2008v33n4a2090 fatcat:x4lqwfkt7bc5rjgfdk3mhdhxli

A Blueprint for (Im)possible Places: Narrative Crisis in Antonioni's L'Eclisse (1962)

Dennis Lo
2015 Film-Philosophy  
But where are the plastic figurines that simulate everyday life in their static poises, about to walk into a bus, pick up a briefcase, wave to a friend, or open the gate to a white apartment?  ...  Rather than dining, visiting cafes, or taking road-trips, they are museum patrons of everyday public spaces, wandering about and looking less at each other than at the architecture framing them in their  ...  visual interaction of mise-en-scene elements constituting a narrative event.  ... 
doi:10.3366/film.2015.0009 fatcat:usvfqwexmvb3zm3xvnrwtk5t5e

Stereoscopic-3D storytelling – Rethinking the conventions, grammar and aesthetics of a new medium

Sarah Atkinson
2011 Journal of Media Practice  
Film and cinema studies have evolved significantly in the past century in their responses to the two-dimensional film-making medium; its production techniques, storytelling capabilities and audio-visual  ...  This provides a timely context in which to re-examine and re-evaluate Stereoscopic 3D in an academic context.  ...  Although Barr points to a number of examples of 'horizontal effects', whereby the full scope of the frame is utilized by the director through on-screen action and elements of mise-en-scène.  ... 
doi:10.1386/jmpr.12.2.139_1 fatcat:32sdssucvjcq7memzmreihsj4i
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