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Artículos de revistas sobre el tema "VR documentary"

Autor: Grafiati
Publicado: 7 de junio de 2025
Última modificación: 2 de agosto de 2025

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1

Nash, Kate. "Virtually real: exploring VR documentary." Studies in Documentary Film 12, no. 2 (2018): 97–100. http://dx.doi.org/10.1080/17503280.2018.1484992.

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2

Dou, Guohao. "Response, News, and Observation: Typologies of Communication in VR Documentaries." Scientific and Social Research 6, no. 5 (2024): 76–81. http://dx.doi.org/10.26689/ssr.v6i5.6890.

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The combination of virtual reality (VR) technology and documentary style creates VR documentaries with distinctive image characteristics. This kind of image with its special spatial interaction, sense of presence, and immersion counters the one-way cognitive thinking of traditional documentary and reshapes its media properties with VR technology, which in turn generates new perception, identity, emotional experience, and understanding in the context of virtual immersive documentary image dissemination.
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3

Li, Shiyu. "An Analysis of Immersive Communication in VR Documentary: A Case Study of Planet Earth II." Communications in Humanities Research 16, no. 1 (2023): 110–15. http://dx.doi.org/10.54254/2753-7064/16/20230535.

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The rapid development of Virtual Reality (VR) technology has brought significant changes to the field of cultural media. Among them, VR documentaries, as an emerging form of communication, provide viewers with a brand-new sensory experience through their powerful immersive capabilities. This article will analyze the immersive communication features of VR documentaries, using the classic VR documentary Planet Earth II as an example, and explore its impact on viewers based on existing literature and data. By using VR headsets and 360-degree video capture technology, documentary filmmakers are ab
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4

Anggraini, Sazkia Noor. "Brings Reality Through Virtual Reality." IMOVICCON Conference Proceeding 1, no. 1 (2019): 131–43. http://dx.doi.org/10.37312/imoviccon.v1i1.15.

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Film festival is a place to convey specific film for specific purposes. Festival nowadays were broaden their medium, not only on screen but also involved more audience with new technology mobile devices. As the longest running documentary film festival in Indonesia, Festival Film Dokumenter (FFD) have been concern about the impact of film screenings to the audience. Since 2016, FFD have been intend to using several medium to convey disability rights awareness. FFD conducted the program Virtual Reality (2016) and The Feelings of Reality (2018). Both of those program were using Virtual Reality (
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5

Nunes, Thatiany Andrade, and Hyunseok Lee. "Humanitarian Documentary: A Comparison Study between VR and Non-VR Productions." Journal of Multimedia Information System 6, no. 4 (2019): 309–16. http://dx.doi.org/10.33851/jmis.2019.6.4.309.

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6

Tang, Ruohan, and Lai Wei. "Aural Authenticity and Reality in Soundscape of VR Documentary." Interactive Film & Media Journal 2, no. 4 (2022): 33–41. http://dx.doi.org/10.32920/ifmj.v2i4.1644.

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The documentary concept is a 'notoriously slippery eel,' or even the slipperiest one in the history of cinema (Kahana, 2016). With the involvement of virtual reality in the production of documentaries, the dialectic between virtuality and authenticity makes this concept even more elusive. Does documentary exist in VR films? When the spaces and mise-en-scène of the documentary are all artificially created through computing software, can it still be considered an authentic form of a documentary? How can this sub-genre of documentary continue to exist as a kind of proclaimed ‘non-fiction’ when th
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7

Son, Jung-Hyun, and Dong-Hyun Kwon. "A Study of Remediation in a 6 DoF VR Documentary -Focusing on Visual Techniques of the VR Documentary ‘On the Morning You Wake’-." JOURNAL OF THE KOREA CONTENTS ASSOCIATION 25, no. 5 (2025): 122–31. https://doi.org/10.5392/jkca.2025.25.05.122.

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8

Ibourk, El Mehdi, and Amer Al-Adwan. "Subtitling Virtual Reality into Arabic: Eye Tracking 360-Degree Video for Exploring Viewing Experience." Lebende Sprachen 64, no. 2 (2019): 286–308. http://dx.doi.org/10.1515/les-2019-0016.

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Abstract The recent years have witnessed the emergence of new approaches in filmmaking including virtual reality (VR), which is meant to achieve an immersive viewing experience through advanced electronic devices, such as VR headsets. The VR industry is oriented toward developing content mainly in English and Japanese, leaving vast audiences unable to understand the original content or even enjoy this novel technology due to language barriers. This paper examines the impact of the subtitles on the viewing experience and behaviour of eight Arab participants in understanding the content in Arabi
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9

Park, Man Ki. "A Study on the Meaning of VR Animated Documentary and its Development Task." CONTENTS PLUS 18, no. 5 (2020): 57–72. http://dx.doi.org/10.14728/kcp.2020.18.05.057.

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10

Bédard, Philippe. "You Are Not Alone." AN-ICON. Studies in Environmental Images [ISSN 2785-7433] 3, no. I (2024): 11–35. http://dx.doi.org/10.54103/ai/22528.

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This article focuses on the use of virtual reality (VR) in the context of “impact campaigns.” Distinct in many ways from publishing a project on a digital storefront, im- pact campaigns assume a more carefully designed experi- ence, starting with the exhibit itself. Rather than considering VR as an end in itself, my goal is to situate this unique type of mediated experience within a larger network of social activism. Key to this project is an understanding of the role documentary films have played within societal movements. By learning from the larger history of impact production, this article
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11

Ren, Wei. "The Application of Intelligent Technologies in the Creation of Historical Documentary Films." Communications in Humanities Research 36, no. 1 (2024): 1–11. http://dx.doi.org/10.54254/2753-7064/36/2024bj0045.

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In the context of intelligent media, communication ushers in an unprecedented transformation. As an important way of cultural communication, documentary production is exploring the deep integration with emerging technologies. As an important part of documentary creation, historical documentary films are constantly integrated with intelligent technology in reality creation due to their special attributes. The research scope of this paper is under the national "new quality productivity" development strategy to explore the application and potential of intelligent technology in the content shaping
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12

Shin, Jung-Ah. "Realization of Contents Activism through VR documentary production : Focusing on MBC〈Meeting Yong-gyun〉." Humanities Contents 66 (September 30, 2022): 113–41. http://dx.doi.org/10.18658/humancon.2022.09.121.

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13

Cecil, Holly. "The iAnimal Film Series." Screen Bodies 6, no. 1 (2021): 44–61. http://dx.doi.org/10.3167/screen.2021.060105.

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This article explores the innovative use of virtual reality (VR) technology in nonfiction documentary film formats by animal-advocacy organizations. I examine the potential of the VR medium to communicate the living and dying environments of factory-farmed animals, and to generate viewer empathy with the animal subjects in their short, commodified lives from birth to slaughterhouse. I present a case study of the iAnimal short film series produced by Animal Equality, which made its public debut at the 2016 Sundance Film Festival. Employing a critical animal studies framework, I engage Kathryn G
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14

Stezhko, Natalia G. "VR technologies in docudrama." Journal of Flm Arts and Film Studies 11, no. 1 (2019): 73–80. http://dx.doi.org/10.17816/vgik11173-80.

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The essay explores the implementation of VR technologies in film production, a development due to which audio-visual content, which is in high demand both in television and on the Internet, has taken a new direction, and which is a topical issue in contemporary film studies. VR technologies allow the viewer who sits on a swivel chair and wears a VR-helmet incorporating 360-degree rotating LCD monitors to watch different areas of action.
 A characteristic feature of VR content is a multi-sensory experience including sight, hearing, smell and touch. VR creates a digital reality with maximum
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15

Şahin, Pınar, Arda ÇALIŞKAN, Ziya Volkan HACITAHİROĞULLARI, Salih CEYLAN, Güven ÇATAK, and Server Zafer MASALCI. "A Comparative Study on the VR Experience of Students in a Digital Documentary Game." Journal of Metaverse 4, no. 1 (2024): 33–42. http://dx.doi.org/10.57019/jmv.1332459.

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VR technologies, which are used in many fields today, have also started to be used in education through the game platforms with the realistic and interactive environments they provide. The 'Following the Traces of Sedad Hakkı Eldem in Istanbul project, developed within the scope of a scientific project jointly carried out by the Architecture and Digital Game Design Departments at the host university, is an architecture-themed documentary game designed for educational purposes. Within the game's scope, three different projects of architect Sedad Hakkı Eldem, whose name is frequently mentioned i
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16

Nakamura, Lisa. "Feeling good about feeling bad: virtuous virtual reality and the automation of racial empathy." Journal of Visual Culture 19, no. 1 (2020): 47–64. http://dx.doi.org/10.1177/1470412920906259.

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Virtual reality (VR)’s newly virtuous identity as the ‘ultimate empathy machine’ arrives during an overtly xenophobic, racist, misogynist, and Islamophobic moment in the US and abroad. Its rise also overlaps with the digital industries’ attempts to defend themselves against increasingly vocal critique. VR’s new identity as an anti-racist and anti-sexist technology that engineers the right kind of feeling has emerged to counter and manage the image of the digital industries as unfeeling and rapacious. In this article, the author engages with VR titles created by white and European producers tha
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17

Kim, Jihoon. "Synthetic Vision in Virtual Reality Documentaries." Film-Philosophy 25, no. 3 (2021): 321–45. http://dx.doi.org/10.3366/film.2021.0178.

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Based on a nuanced understanding of immersion and sense of presence (SoP) as two key aesthetic effects that the application of virtual reality (VR) to cinema is believed to innovate, this paper develops the concept of synthetic vision as fundamental to understanding the visual experience of VR media, particularly VR documentaries. The concept contends that viewers’ experience in VR is based on two visions that seemingly contradict each other: first, a disembodied vision that transports them to a simulated world, and second, an embodied vision guaranteed by the freedom to control kinesthetic mo
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18

Schreer, Oliver, Markus Worchel, Rodrigo Diaz, et al. "Preserving Memories of Contemporary Witnesses Using Volumetric Video." i-com 21, no. 1 (2022): 71–82. http://dx.doi.org/10.1515/icom-2022-0015.

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Abstract Volumetric Video is a novel technology that enables the creation of dynamic 3D models of persons, which can then be integrated in any 3D environment. In contrast to classical character animation, volumetric video is authentic and much more realistic and therefore ideal for the transfer of emotions, facial expressions and gestures, which is highly relevant in the context of preservation of contemporary witnesses and survivors of the Holocaust. Fraunhofer Heinrich-Hertz-Institute (HHI) is working on two projects in this cultural heritage context. In a recent project between UFA and Frau
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19

Gabrielli, Angelica. "«Altri li credono o barbarici o romani»: l'archivio De Stefani e le indagini archeologiche nella bassa Valpantena." Archeologia Veneta XLVI (January 10, 2024): 144–63. https://doi.org/10.5281/zenodo.10648627.

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Riassunto Il presente contributo propone una revisione delle ricerche archeologiche condotte da Stefano De Stefani nella bassa Valpantena (VR), alla luce anche delle fonti documentali dell’Archivio Privato De Stefani (APDS), oggetto della ricerca dottorale della scrivente. L’indagine, la cui cronologia dei rinvenimenti è compresa tra la romanizzazione e l’Alto Medioevo, prevede un riesame della documentazione archivistica, tra cui carteggi, taccuini, disegni e delle pubblicazioni dell‘autore stesso. Gli obiettivi comprendono l’analisi delle metodologie d&rs
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20

Novikov, Vasily N. "VR cinema. Virtual spectacle as a dream." Journal of Flm Arts and Film Studies 11, no. 2 (2019): 43–52. http://dx.doi.org/10.17816/vgik11243-52.

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The essay analyzes the meaning of the term immersion in relation to its application in modern cinema, explores the significance of physiological sensations in the perception of artistic and entertaining VR content, and discusses the main features of the aesthetics of 360 spherical video.
 In a state of immersion, a person ceases to psychologically perceive the screen as a repeater of an artificially created world, actually merging with the surrounding space. This technology, embodied in VR films, poses many still unresolved issues: the management of the subjects attention, the role of edi
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21

Rizvić, Selma, Dušanka Bošković, Vensada Okanović, Ivona Ivković Kihić, Irfan Prazina, and Bojan Mijatović. "Time Travel to the Past of Bosnia and Herzegovina through Virtual and Augmented Reality." Applied Sciences 11, no. 8 (2021): 3711. http://dx.doi.org/10.3390/app11083711.

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Bosnia and Herzegovina (BH) has a very picturesque past. Founded in 11th century, it has always been a crossroads of faiths and civilizations. Extended Reality (XR) technologies can finally take us to time travel into this history, enable us to experience past events and meet historical characters. In this paper, we overview the latest applications we developed that use Virtual Reality (VR) video, Virtual and Augmented Reality (AR) for interactive digital storytelling about BH history. “Nine dissidents” is the first BH VR documentary, tackling a still tricky subject of dissidents in the Social
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22

Vindenes, Joakim, and Lars Nyre. "Prototyping first-person viewer positions for VR narratives with storyboards and pilot productions." Journal of Screenwriting 14, no. 3 (2023): 251–69. http://dx.doi.org/10.1386/josc_00133_1.

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In this article, we present two related approaches to scripting or prototyping VR narratives. We tested storyboarding and pilot production techniques with 40 students over two years, and they were tasked with creating documentary VR narratives characterized by embodied moods and experiences. The aim was to help students tailor a strong first-person viewer relationship with the virtual environment utilizing the ways the body can be centred in story worlds. In particular, the article deals with character positioning and point of view-writing in the first-person, drawing on insights from human–co
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23

Chung, Sae Hae, Han kil Kim, and Joo Hyun Yoo. "Analysis of Interaction Design and Storytelling in Immersive Art - Focused on the VR documentary <Goliath> -." Design Convergence Study 22, no. 1 (2023): 59–74. http://dx.doi.org/10.31678/sdc98.5.

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24

Díaz-López, Lourdes, Javier Tarango Ortiz, and Claudia-Patricia Contreras. "Strategies for inclusive and safe education using virtual reality: from the digital library perspective." Digital Library Perspectives 35, no. 3/4 (2019): 216–26. http://dx.doi.org/10.1108/dlp-08-2019-0034.

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Purpose This paper aims to propose the development of formal (scientific content) and informal (content for science communication) educational activities in an inclusive and safe way, involving two essential elements, virtual reality (VR) and the digital library; as well as the implications for its enforcement such as educational strategies in the university setting and for the encouragement of scientific culture in society. Design/methodology/approach For the integration of content, a simplified conceptual model was designed first, in which universities and research centers are seen as comple
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25

Wiehl, Anna. ""Walk in your own shoes!"." Interactive Film & Media Journal 2, no. 3 (2022): 76–95. http://dx.doi.org/10.32920/ifmj.v2i3.1505.

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This contribution focuses on 'new narratives' dealing with the global issue of migration which however stands only as a paradigm of other forms of systemic injustice and discrimination. Taking paradigmatic projects -- Clouds over Sidra (2015) and This Room (2017) -- I will set off to look behind the promise of interactive, immersive narratives to let users 'walk in someone else's shoes'. This article explores in how far the specific affordances of VR affect the engagement with content and the potentially transformative impact the producers are aiming at. Are we dealing with an exploitive gaze,
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26

Moura, Hudson. "Political Engagement in Carne y Arena by Alejandro González Iñárritu." Interactive Film & Media Journal 2, no. 3 (2022): 56–75. http://dx.doi.org/10.32920/ifmj.v2i3.1635.

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Created by Mexican awarded director Alejandro González Iñárritu, Carne y Arena is an immersive mixed-reality installation that allows visitors to experience traumatic and violent incidents with illegal immigrants crossing the Mexican–US border. Carne y Arena’s mixed reality combines VR experience with physical components, turning it into a multisensory, bodily immersive experience. As part of the art installation, the whole VR arena is surrounded by the remains of a wall’s border; while inside, actual immigrants’ clothes and objects are also exhibited. Another component is the documentary aspe
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27

Yang, Ting. "An Analysis of the Combination of Anti-Anthropocentrism and VR Game Design." Highlights in Science, Engineering and Technology 93 (May 8, 2024): 157–66. http://dx.doi.org/10.54097/cgwgsp22.

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During the epidemic, the documentary film The Year the Earth Changed brought the topic of "anthropocentrism" back to the forefront of viewers' minds. It was discovered that many of the planet's negative changes were due to human appropriation of resources, and that in order to address this issue, humans needed to redefine their place and responsibility in ecosystem usage. this paper aims to illustrate a game that allows players to realise the importance of equality in an immersive gaming experience through the use of VR. The author used Unity to create the game, and Nomad and Houdini to assist
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28

Rogers, Kathryn E. "Story First, Technology Second." Advances in Archaeological Practice 8, no. 4 (2020): 428–33. http://dx.doi.org/10.1017/aap.2020.37.

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OVERVIEWCombining the strengths of “traditional” documentary filmmaking (as “creative treatments of actualité”) with the immersive power of interactive digital technologies (from 360° video to VR to data mining to algorithms), i-Docs can transform audiences into participants, co-creators, and collaborators in nonfiction storytelling, allowing them to not only explore and experience a story on their own terms but to remix, share, and contribute their own content to a collective story. i-Docs are cross- and multiplatform, screening across cinema, computers, smartphones, and gallery installations
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29

VERMA, PREM CHAND. "Transmedia Ecopoetics : Crafting Environmental Consciousness through Interactive Digital Storytelling." Shodhaamrit 01, no. 02 (2024): 148–57. https://doi.org/10.71037/shodhaamrit.v1i2.03.

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Transmedia ecopoetics merges transmedia storytelling’s multi‑platform dynamics with ecocri-ticism’s focus on environmental imagination to foster ecological consciousness through interactive experi-ences. Drawing on Jenkins’s media convergence theory, Buell’s environmental criticism, and Ryan’s narrative immersion framework, this research investigates how participatory narratives encourage ecological empathy and pro‑environmental behavior. Utilizing a qualitative multiple case study method, the study examines three recent post‑2021 projects: James Balog’s Extreme Ice Survey and Chasing Ice, the
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30

Dubois, Frédéric, and Lena Thiele. "Iterative Loops." Interactive Film & Media Journal 2, no. 4 (2022): 76–85. http://dx.doi.org/10.32920/ifmj.v2i4.1683.

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This scholarly essay is about research-creation in interactive, immersive and digital non-fiction storytelling. It seeks to shed light and update this research approach and to identify ways in which it can be rendered more accessible to both practitioners and researchers. The essay revisits two recent factual narratives—the web-documentary Field Trip (2019) and VR experience Myriad (2021), projects in which the authors were directly involved as practitioners. Then, it positions these two digital practices in the body of literature on media innovations before qualifying them as interactive and
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31

Yang, Haiyi. "Research on the Protection and Inheritance Strategies for Jiajiang Woodblock New Year Paintings from the Perspective of New Media." Communications in Humanities Research 61, no. 1 (2025): 160–69. https://doi.org/10.54254/2753-7064/2025.21475.

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This article takes the inheritance and protection of Jiajiang woodblock New Year paintings, a national intangible cultural heritage, as the research object, and systematically analyzes its current development difficulties. Research has found that under the impact of the digital wave, this traditional craft is facing practical problems such as shrinking inheritance spectrum, single dissemination channels, and sustained low attention from young people. Specifically, this is manifested in the lack of publicity matrix leading to public cognitive confusion, outdated product design resulting in weak
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32

Firmansyah, Haris, and Thomy Sastra Atmaja. "Transformation of history learning methods in the digital era: Challenges and opportunities in schools." Indonesian Journal of Educational Development (IJED) 6, no. 1 (2025): 264–77. https://doi.org/10.59672/ijed.v6i1.4791.

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The rapid transformation of education in the digital era has created an urgent need to reexamine history teaching methods to ensure their relevance to the needs of today’s learners. This study aims to investigate the implementation of digital technology in history education in secondary schools in Pontianak, focusing on its impact on student engagement, the challenges encountered, and the opportunities that can be leveraged to enhance learning effectiveness. The research subjects consisted of history teachers and students from four public high schools, selected through purposive sampling based
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33

Moura, Hudson, Heidi Rae Cooley, and Stefano Odorico. "Editorial." Interactive Film & Media Journal 3, no. 1 (2023): 1–7. http://dx.doi.org/10.32920/ifmj.v3i1.1869.

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The Interactive Film and Media Journal advances scholarly and creative discourse on the intersection of interactivity and various media forms. This issue features contributions from the IV International Interactive Film and Media Conference (2022), coordinated by a diverse group of academics. The conference theme, Interactive Epistemology, Listening, and Ecomedia, facilitated an exploration of knowledge-building, listening, and ecological consciousness within interactivity. Emphasizing the importance of listening as a mode of knowledge production, the issue promotes a holistic understanding of
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34

Trommer, Michael, and Graham Wakefield. "Points Further North: An Acoustemological Cartography of Non-Place." Abstracts of the ICA 1 (July 15, 2019): 1. http://dx.doi.org/10.5194/ica-abs-1-369-2019.

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&lt;p&gt;&lt;strong&gt;Abstract.&lt;/strong&gt; This paper discusses the &lt;i&gt;Points Further North project&lt;/i&gt;, a VR documentary that was undertaken with a view to foregrounding how sound can be deployed as the primary mechanism for laying out the complex, often subjugated relationships manifested between physical spaces and those who inhabit them. Specifically, It examines how ambisonic and haptic audio’s profoundly affective emotional, tactile and topologically enveloping capacities can be articulated within an acoustemological framework (acoustemology is best defined by ethnograph
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35

Hamus-Vallée, Réjane. "Le documentaire en 360°, un point de vue impossible ? Étude de NYT VR et Arte 360." Studies in French Cinema 18, no. 3 (2018): 223–38. http://dx.doi.org/10.1080/14715880.2017.1324097.

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36

Mundhenke, Florian. "Matrix of Documentary VR." Interactive Film & Media Journal 3, no. 2 (2023). http://dx.doi.org/10.32920/ifmj.v3i2.1740.

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Is there something like a Virtual Reality documentary or is VR already leaving the realm of filmic representation? Where is the difference between a VR film and a VR experience, how can the 360-degree film be classified in this spectrum? Can both real-life VR and computer-generated projects be labelled as documentaries? Is non-fictional VR also allowing a kind of collaboration or cooperation as known from web documentaries, or are the projects finished works that exhaust themselves in the unique reception? Are VR projects used for exchange between human individuals or only for interaction betw
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37

Schillaci, Rossella, and Alexandra D’Onofrio. "Exhibition of a VR Experimental Documentary." Interactive Film & Media Journal 2, no. 2 (2022). http://dx.doi.org/10.32920/ifmj.v2i2.1583.

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During the exhibition session, we propose to view a VR experimental documentary of 20’. The VR film is made after a three-year practice-based collaborative research on mothers and children living together in a condition of imprisonment. The objective is to understand their different points of view about the confined spaces they are - or have been living - and how they endured the challenges of raising children in prison, and also which are their hopes and dreams for the future. This Ph.D. research mixes theory and practice, with the intent to analyze the production of the VR film, made combini
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38

Tang, Ruohan, and Lai Wei. "Aural Authenticity of Virtual Reality Documentary Made in 3D Virtual Environment." Interactive Film & Media Journal 2, no. 2 (2022). http://dx.doi.org/10.32920/ifmj.v2i2.1599.

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The concept of documentary is a 'notoriously slippery eel', or even the slipperiest one in the history of cinema (Kahana, 2016). Movies inside virtual reality are one of the promising talked-about areas in the VR industry. With the involvement of virtual reality in the production of documentaries, the dialectic between virtuality and authenticity makes this concept of documentary even more elusive, especially for VR documentaries made in 3D. In the viewing experience, the virtual environment is built upon computing 'true depth'. This virtual cinematic space is set up through the modelling in s
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39

Dubois, Frédéric. "Interactivity as a key feature redefining documentary reality." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 21, no. 30 (2018). http://dx.doi.org/10.14746/i.2017.30.03.

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Finding a clear-cut boundary delimiting fiction from documentary has always been a controversial, daunting and unthankful undertaking. In the last decade, the blur between the two genres has been reinforced by the rapid advancement of web and AR/VR technologies. Interactive web-documentaries and virtual reality documentaries do not only promote new viewing habits – from swiping smartphone screens to scanning horizons with VR headsets, they shake up the very idea of what a documentary is. In this short scholarly essay, I argue that the feature of interactivity is the driving force redefining th
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40

Borah, Porismita, Bimbisar Irom, Lee Yoon Joo, et al. "VR technology and humanitarian crisis: Political ideology and the intention to donate in the case of the Syrian refugee crisis." New Media & Society, April 23, 2024. http://dx.doi.org/10.1177/14614448241247209.

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Scholars have studied the role of technology in humanitarian crises and have noted an increase in positive attitudes and behavior. Of interest to us is Virtual Reality (VR). We set out to understand the role of VR technology and its relationships with empathy, sympathy, and donation intention in case of the Syrian refugee crisis. We conducted two experimental studies to examine these relationships, where participants watched “Clouds Over Sidra” a VR film for the United Nations. The participants in the VR condition watched the documentary using VR, while in the non-VR condition, participants wa
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41

Servais, Anaïs, and Christine Bastin. "EXPRESS: Memory benefit after exploring a novel virtual environment: There is more than spatial novelty." Quarterly Journal of Experimental Psychology, June 2, 2025. https://doi.org/10.1177/17470218251348993.

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Animal studies show that novelty boosts memory for unrelated information encountered shortly after. Evidence for this effect is lacking in humans. Using Virtual Reality (VR) to simulate spatial novelty has yielded conflicting results. Schomaker et al. (2014) found that word recall was higher when encoding followed novel rather than familiar exploration, which we failed to replicate in two prior studies. Instead, we observed enhanced recall after initial VR exposure. This study examined the broader effect of VR experience on memory. As VR could improve memory, we included 35 younger adults and
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42

Kermanchi, Jasmin. "Virtual Reality as an Archival Space. An Analysis of the Virtual Migration Museum." TraMeTraMi - Zeitschrift für digitalen Wissenstransfer, no. 25/2025 (May 3, 2025). https://doi.org/10.5281/zenodo.15333442.

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What potential does virtual reality have for the presentation of an archive? The essay explores this question using the example of the Virtual Migration Museum project of the Documentation Center and Museum of Migration in Germany (DOMiD). This VR project, which has been launched and keeps evolving since 2017, allows users to explore a three-dimensional fictitious cityscape with several buildings in which real objects from the archive of the DOMiD association are embedded in digitized form through three-dimensional scanning or as replicated digital models. The archival objects in the collectio
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43

Pomianowska, Iwona. "Modern documentary in the age of virtual reality: Deapening engagement with nonfiction storytelling through technological innovation." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 21, no. 30 (2018). http://dx.doi.org/10.14746/i.2017.30.04.

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After decades of research, technological development as well as few discouraging setbacks, virtual reality (VR) appears to be on the cusp of its settled adoption. The incorporation of VR technology into the palette of everyday communication media is not only exciting for filmmakers and game designers, but also for every manner of storytellers: documentarians, journalists, educators, scientists – all professions involved in clarifying surrounding us reality and communicating about it. They all discovered that social change can be valuably stimulated by development of new technology – technology
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44

Dowling, David O. "Interactive documentary and the reinvention of digital journalism, 2015–2020." Convergence: The International Journal of Research into New Media Technologies, December 31, 2021, 135485652110594. http://dx.doi.org/10.1177/13548565211059426.

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Interactive documentary (i-docs), an innovative hybrid form at the intersection of film, journalism, and digital games, has matured beyond its first wave of experimentation, gaining distinction among the most highly evolved immersive media of the twenty-first century. The latest generation of i-docs is currently winning accolades at both major film festivals and game design summits. This study charts the evolutionary trajectory of North America’s most recent and influential wave of i-docs in works mostly appearing since 2015. It culturally situates i-docs as immersive media that extend experim
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45

Smith, Michelle, Pasha Partridge, Mélina Quittich-Niquay, Kester Dyer, and Elizabeth Miller. "Decolonizing Documentary Spaces." Interactive Film & Media Journal 3, no. 2 (2023). http://dx.doi.org/10.32920/ifmj.v3i2.1779.

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In this paper we consider how grassroots community partnerships can transform academic spaces into creative and interactive sites of Indigenous agency and advocacy. Focusing on two projects based in Tiohtià:ke (Montreal), we bring these initiatives into a discussion that takes into account the larger context of documentary filmmaking in the territory often referred to as Québec. We address how each project uses care and collaboration towards a practice of visual sovereignty. We start with a discussion of the First Peoples’ Postsecondary Storytelling Exchange (FPPSE), an Indigenous led, multi-i
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46

Phillips, Emma, Aaron Jarden, and Terence Bowles. "A study of virtual reality and the empathetic experience in Australian secondary students." Australian Educational Researcher, April 17, 2024. http://dx.doi.org/10.1007/s13384-024-00708-1.

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AbstractEmpathy is a key contributor to moral, pro-social behaviour and an important element of socio-emotional learning (SEL). Schools deliver SEL programmes during adolescence to develop a range of skills including empathy. As education becomes increasingly digital, more research is needed to understand the role digital technologies may play in students’ empathy development. Virtual reality (VR) has been touted as a possible way to provide more realistic experiences to enhance empathy. To investigate this, an intervention of an empathy-provoking documentary (Clouds over Sidra) was shown to a
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47

Smith, Samara, and Laura Chipley. "Experimental Embodiment." Interactive Film & Media Journal 4, no. 1-2 (2024). https://doi.org/10.32920/ifmj.v4i1-2.2010.

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While discussing our current work-in-progress project, Virtual Aquapolis, we will consider two lines of inquiry: VR provides unique opportunities to explore inaccessible spaces, embody non-human forms, and offer radical new perspectives. How might we tell stories and create experiences that speak to this ecological moment using VR? This presentation explores the potential for VR to offer novel ways to connect with, or even embody, flora, fauna, environments and ecosystems. The rules for creating VR environments are still evolving: the grammar, aesthetics, and experiential possibilities develop
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48

Kannan, Dr S., and Anuradha M. "DOES THE EMPATHY MACHINE MAKE JOURNALISM STUDENTS COMPASSIONATE? AN EMPIRICAL STUDY." ShodhKosh: Journal of Visual and Performing Arts 4, no. 1SE (2023). http://dx.doi.org/10.29121/shodhkosh.v4.i1se.2023.419.

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In 360-degree virtual reality, news stories put the user (who consumes news through a head-mounted display) inside the story. The present study tries to find out whether select 360-degree video documentaries make the users empathize with the story, situation, and people involved in the story. On the other hand, in the news media, journalists and documentary filmmakers work hard to get the news out to the public. People who read the news have to understand how journalists present the news. In 360-degree documentaries, there is no such boundary. This is why the current study is significant in de
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49

Martínez-Cano, Francisco-Julián. "Volumetric filmmaking, new mediums and formats for digital audiovisual storytelling." AVANCA | CINEMA, February 26, 2021. http://dx.doi.org/10.37390/avancacinema.2020.a168.

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Currently, VR and AR film practice are expanding through the use of new techniques capable of producing footage that can be implemented in interactive audiovisual virtual discourses. Volumetric video is one of these resources, with which some authors have begun to create the very first interactive VR and AR movies. Many of these works have a prosocial purpose, as means to move the audience having an impact on society.This work is based on a methodology structured in three phases. The results presented have been obtained from the study of Terminal 3, the first interactive augmented documentary,
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50

Breviário, Álaze Gabriel do, Jaine Marques de Souza, João Batista Lucena, Logan Faedda Rago, Marcelo D'Ávilla Teixeira Gomes, and Deusirene Sousa da Silva Fróes. "VIRTUAL REALITY AS AN INCLUSIVE TOOL FOR THE DEVELOPMENT OF STUDENTS WITH HIGH SKILLS AND GIFTEDNESS: POSSIBILITIES AND CHALLENGES FOR ADVANCED SPECIAL EDUCATION." April 29, 2025. https://doi.org/10.5281/zenodo.15299781.

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This research explores the use of Virtual Reality (VR) as a tool for the cognitive and psychosocial development of students with high abilities and giftedness, in the context of inclusive education. Considering the need for educational practices that value the specificities of these students, the study examines the impact of VR on meaningful learning and social interaction, addressing the challenges of its implementation. The main objective is to investigate how VR can enhance the integral development of these students. Methodologically, the gifted neoperspectivist paradigm was adopted, which
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