Titlebook: Virtual Reality Narratives; Embodied Encounters Kath Dooley Book 2024 The Editor(s) (if applicable) and The Author(s), under exclusive lic

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書目名稱Virtual Reality Narratives影響因子(影響力)




書目名稱Virtual Reality Narratives影響因子(影響力)學科排名




書目名稱Virtual Reality Narratives網(wǎng)絡公開度




書目名稱Virtual Reality Narratives網(wǎng)絡公開度學科排名




書目名稱Virtual Reality Narratives被引頻次




書目名稱Virtual Reality Narratives被引頻次學科排名




書目名稱Virtual Reality Narratives年度引用




書目名稱Virtual Reality Narratives年度引用學科排名




書目名稱Virtual Reality Narratives讀者反饋




書目名稱Virtual Reality Narratives讀者反饋學科排名

Microaneurysm

Between Storytelling and Storyliving: User Customisation of Virtual Reality Narratives,th reference to the System, Process, Product (SPP) model of narrative production theorised by Koenitz (, .. Routledge, New York, 2015), the chapter argues that the two projects’ interactive devices encourage some measure of ‘storyliving’, and that this occurs alongside the delivery of a fully scripted narrative.

Console

Embolic-Stroke

Virtual Reality Narratives Live Online: Immersive Theatre in VRChat Worlds, argues that the VR immersive theatre work offers the user a ‘personal’ experience of a pre-authored narrative delivered through live performance, where one-on-one engagement with actors fosters high levels of engagement and feelings of immersion. Key to this experience is the interplay between participants and live actors’ virtual bodies.

Atrium

Gastric

Introduction,ertainment-based virtual reality. It argues that as an inherently interactive medium that places the user . a storyworld in a visible or invisible virtual body, virtual reality offers a means for the creation of narratives that incorporate the user’s body as a storytelling tool, fostering user-centr

Embolic-Stroke

Exploit

Virtual Reality Narration: Listening to and Reliving Stories Through First-Person Testimony,d game devices in three documentary-based works. This is undertaken with reference to ‘voice’ and ‘focalisation’, two key concepts explored by literary theorist Gerard Genette, which are reconsidered for the 360-degree VR medium. Additionally, user positioning in relation to story agents is explored

輕快走過

Exploring Environmental Storytelling Techniques in Expressive, Virtual Reality Documentary,ars, considerable academic criticism has been directed at 360-degree VR documentaries that have adopted the conventions of realist filmmaking, using lens-based technologies to capture live-action, or other tools to create photo-realistic environments based on the real world. Less academic work has c

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Time, Space and the Body in , (2019), a Multiplayer Virtual Reality Game,nder Claws 2019). With reference to narrative theory for games, the chapter first interrogates the experience that . offers, noting the project’s combination of linear story, improvised ‘live’ moments and open-world narrative elements. It then explores the player’s manipulation of time and space wit