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Immersive Storytelling in Cinematic, Artistic and Theatrical Virtual Reality Works

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Immersive Storytelling in Cinematic, Artistic and Theatrical Virtual Reality Works Master’s Degree in European, American and Postcolonial Languages and Literatures Final Thesis Immersive Storytelling in cinematic, artistic and theatrical virtual reality works Supervisor Prof. Shaul Bassi Assistant Supervisor Prof. Pia Masiero Graduand Sofia Morandini Matriculation number 877474 Academic Year 2019 / 2020 Abstract Within the domain of immersive storytelling, the present study aims to explore and discuss the potential of virtual reality devices as a means to convey engaging and interactive narratives and stories. Through a comparative analysis of traditional narrative theories encompassing the domains of literature, theatre and cinema, a theory of narration for virtual reality is formulated in light of interaction, immersion, and user-centred plots. Based on the virtual reality narrative theory provided, efficient storytelling patterns are described with respect to the narrative aspects inherent to the specific technology, the main ones being the visual property and the interactive approach. After the elaboration of a language for virtual reality storytelling, the history and features of this immersive technology are illustrated in functional connection with the user experience of the digital device and its components (immersion, presence, embodiment, interactivity, binaural audio). Given these theoretical premises, the study considers a variety of cases that comprehend selected cinematic, artistic and theatrical pieces produced by utilising virtual reality technology. Taking into consideration the user experience of this medium, the case studies are examined from different viewpoints and techniques in order to point at the elaboration of compelling storytelling patterns. The diverse stylistic approaches adopted, depending on whether it is a cinematic experience, an art installation or a theatrical piece, are considered as part of the discussion on the pros and cons of this innovative type of storytelling. Furthermore, various readings from the ecocritical to the political and literary perspectives are proposed with respect to the different virtual reality installations. Through a parallel with the narrative and expressive patterns of literature, theatre and cinema, virtual reality is displayed as an unprecedented medium of storytelling, yet replete with aspects and elements recalling the other domains. This exceptional commingling of sectors places virtual reality technology within the context of an intersectoral communication. Table of Contents 1. Introduction ..................................................................... 1 2. The Art of Storytelling ..................................................... 4 2.1. The origins ............................................................................. 4 2.2. Narration: a brief review of narrative theories from Aristotle to contemporary perspectives ..................................................... 6 2.2.1. Authorial models ................................................................................... 7 2.2.2.1. Narrative as a representation................................................................................... 7 2.2.2.2. Narrative as a structure ............................................................................................ 8 2.2.3. Character-based models ...................................................................... 9 2.2.3.1. Narrative as a process ............................................................................................. 9 2.2.3.2. Interactive narrative ............................................................................................... 10 3. Virtual Reality Storytelling ............................................ 19 3.1. Visual Narration ................................................................... 22 3.2. Three categories of virtual reality storytelling ................... 27 3.2.1. The passive approach and the ‘Swayze Effect’: virtual reality cinema with an invisible interaction............................................................ 27 3.2.1.1. Cinematic virtual reality: observational engagement ............................................. 29 3.2.2. The active approach: virtual reality art with a medium level of interaction ....................................................................................................... 33 3.2.2.1. Virtual reality art ..................................................................................................... 38 3.2.3. The mixed approach and the multisensory experience: virtual reality theatre with a high level of interaction............................................ 41 3.2.3.1. Virtual reality immersive theatre ............................................................................ 43 4. An overview of Virtual Reality: history and components ....................................................................... 46 4.1. An Overview ......................................................................... 46 4.2. User Experience and Experiential Fidelity ......................... 49 4.2.1. Immersivity ........................................................................................... 54 4.2.2. Presence ............................................................................................... 57 4.2.3. Embodiment ......................................................................................... 58 4.2.4. Interactivity ........................................................................................... 60 4.2.5. Binaural Audio ..................................................................................... 61 5. Case Studies .................................................................. 63 4.1. The Canadian Phi Centre .................................................. 63 5.1.1. Phi Immersive: Theatre of Virtuality – Venice ................................. 64 5.2. Felix & Paul Studios ............................................................ 66 5.2.1. Roger Ross Williams’ Traveling While Black – the issue of racism .......................................................................................................................... 66 5.2.2. The Space Explorers Series – the documentary mode .................. 72 5.2.2.1. A New Dawn (2017) – first episode ....................................................................... 74 5.2.2.2. Taking Flight (2018) – second episode.................................................................. 75 5.3. Acute Art .............................................................................. 79 5.3.1. Antony Gormley and Priyamvada Natarajan’s Lunatick (2019) – an Art-Meets-Science project ............................................................................ 79 5.3.2. Marina Abramović’s Rising (2018) – the issue of climate change 83 5.3.3. Anish Kapoor’s Into Yourself, Fall (2018) – A penetrating vision . 87 5.3.4. Nathalie Djurberg and Hans Berg’s It Will End in Stars (2018) – a journey through the unconscious ............................................................... 90 5.4. Punchdrunk International ................................................... 94 5.4.1. Punchdrunk & Samsung Electronics America’s Believe Your Eyes (2016) – blurring the lines between virtual and reality.............................. 95 6. Conclusion................................................................... 103 7. References ................................................................... 108 8. List of Figures ............................................................. 117 1. Introduction While virtual reality technology has become increasingly widespread and advanced in specific fields, especially in entertainment with VR games, as well as in the industry of design, medicine, architecture, training and education, its application in the artistic sphere is still quite recent and almost unexplored. In recent years, several contemporary artists and VR producers have accepted the challenge of employing this technology as an artistic and narrative medium through which they can deliver their creation, alongside other narrative forms such as theatre, literature or cinema. The present study attempts to discuss virtual reality as an unprecedented means of storytelling in artistic, cinematic and theatrical 21st century works, emphasising the hybrid and intersectoral quality of this new art form and focusing on the core aspects that enhance the narrative power of the VR tool. The first chapter of the dissertation illustrates several traditional narrative theories that can be connected to the definition of useful features for virtual reality storytelling. The narrative elements that stand out are the mimetic approach through which the story is conceived as a representation, the macro-structural method, which provides interpretative keys to narration, and eventually the processual and interactive property of stories where the user conquers the scene. The mimetic approach establishes the importance of visuality within storytelling, while the structuralist theories convey significance to the roles assumed by different characters, especially the protagonist and antagonist, ultimately the considerations on process and interaction explain the relevance of users in virtual reality experiences as they can play a fundamental part in the unfolding of the story, distancing from the predominance of the authorial perspective. On these theoretical grounds, the present study formulates three levels of interactivity, ranging from low to high, in accordance
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