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Relevant bibliographies by topics / Interactive Fiction in Cinematic Virtual Reality

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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"

1

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 (2019): 131–51. http://dx.doi.org/10.24193/ekphrasis.22.8.

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2

Grmusa, Lovorka Gruic. "“Cinematic” Gravity’s Rainbow: Indiscernibility of the Actual and the Virtual." Open Cultural Studies 1, no. 1 (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 an

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3

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 rea

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Adams, Don. "The Creativity that Drives the World: Prophetic Realism." Process Studies 48, no. 2 (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 prop

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5

Corbella, Maurizio, and Anna Katharina Windisch. "Sound Synthesis, Representation and Narrative Cinema in the Transition to Sound (1926-1935)." Cinémas 24, no. 1 (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 redef

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6

Geslin, Erik, Olivier Olivier Bartheye, Colin Schmidt, et al. "Bernardo Autonomous Emotional Agents Increase Perception of VR Stimuli." Network and Communication Technologies 5, no. 1 (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 mo

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7

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 (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

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8

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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9

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 (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 underlie

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10

Kalawsky, Roy, and Graeme Simpkin. "Automating the Display of Third Person/Stealth Views of Virtual Environments." Presence: Teleoperators and Virtual Environments 15, no. 6 (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 na

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