From i-doc to VR experience: New forms of user engagement in immersive digital documentaries

Q2 Arts and Humanities
New Cinemas Pub Date : 2020-03-01 DOI:10.1386/ncin_00003_1
Florian Mundhenke
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Abstract

Audience research proves that possibilities of interaction in i-docs are often not fulfilled by the user, who is not really part of a ‘work in progress’ (as intended by the makers). With the shift and development of new digital formats (360-degree-films, nonfictional VR experiences, AR apps), the question of the possible interactive potential should be addressed once again. Since VR projects are fully immersive (mostly using head-mounted displays), there is no possible distraction from outside on the one hand. On the other hand, there is a shift from the computer game style aesthetic of early i-docs, with their pure spatial arrangement of events, to a more inclusive digital storytelling modality with the user experiencing his own world-building. This will be discussed with taking into consideration the non-fictional VR experience as a mode of actively combining immersion and storytelling for a satisfactory user experience. Afterwards two very different examples of nonfictional VR production will be presented, and their modalities will be briefly touched; the utilized approach and its user response will be discussed. A look at the future of possible developments concludes the essay.
从i-doc到VR体验:沉浸式数字纪录片中用户参与的新形式
受众研究证明,i-docs中交互的可能性通常不是由用户实现的,用户并不是“正在进行的工作”的真正组成部分(正如制造商所预期的那样)。随着新数字格式(360度电影、非虚构VR体验、AR应用程序)的转变和发展,可能的互动潜力问题应该再次得到解决。由于VR项目是完全沉浸式的(主要使用头戴式显示器),一方面不可能分散外界的注意力。另一方面,早期i-docs的电脑游戏风格美学(对事件的纯粹空间安排)已经转变为更具包容性的数字故事模式,用户可以体验自己的世界构建。这将在考虑非虚构VR体验的情况下进行讨论,将其作为一种积极结合沉浸感和讲故事的模式,以获得令人满意的用户体验。之后,将介绍两个非常不同的非虚构VR制作示例,并简要介绍它们的模式;将讨论所使用的方法及其用户响应。文章最后展望了未来可能的发展。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
New Cinemas
New Cinemas Arts and Humanities-Visual Arts and Performing Arts
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