Earticle

초록

영어

There are many differences in narrative delivery between common movies and Virtual Reality(VR) films due to their differences in the appreciation structure. In VR films, scene changes by cuts have hindered the immersion of the audience instead of promoting narrative delivery. There are a range of experiments on narratives and immersion to solve this issue in VR films. Floating Tent applies hand gestures and immersive effects found in game elements and does not disturb narrative delivery by setting proper spaces and employing a direction technique to enable the melting of narratives into the characteristics of the spaces. There are time limits to offsound and mission performance, and devices fit for apocalyptic spatial expressions are made through a program. One of measures for the increasingly growing interactive storytelling in VR films is effective immersion. In narrative delivery, it is important to consider spatial setting and immersion to enable active intervention into events for immersion rather than passive audience only supposed to watch characters' acting.

목차

Abstract
1. INTRODUCTION
2. Checkpoints for Story Building in VR Films
3. Topic and Intention of Planning in 
4. The Storytelling and Narrative Structure of 
5. Shadow Being inside the Tent(film device for narrative delivery)
6. VR Viewers' Self-Discovery and Jacques Lacan's Mirror Stage Theory
7. CONCULSION
Acknowledgement
References

키워드

저자

• Kim, Tae-Eun [ Professor, Department of Performance Art and Multimedia DongYang University, Korea ] Corresponding Author

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  The International Journal of Advanced Smart Convergence

• 간기

  계간

• pISSN

  2288-2847

• eISSN

  2288-2855

• 수록기간

  2012~2025

• 십진분류

  KDC 326 DDC 380