• Journal of Korea Multimedia Society
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• v.21 no.8
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• pp.991-1001
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• 2018

In the context of the 4th Industrial Revolution, IoT, Big Data, and VR are rapidly emerging as core sectors of future industries. In particular, the VR has been under the limelight as a new media content appealing to new generation. And the VR user is not merely a 'spectator', but the 'actor'. In other words, the newness of VR is not in the 'more likely representation of the virtual reality', but in the 'making it act more virtual (more technically, 'interactive')' in the virtual world. In this paper, we examine the VR cinema in terms of film composition unit, montage, cinematic space, mise-en-$sc{\grave{e}}ne$ and perspective. The VR cinema, which is in the early stage of evolution, is basically based on $360^{\circ}$ image that strengthens the autonomy of the audience's point of view, but other factors like haptic or sonic immersion are becoming increasingly important. In addition, the VR cinema will be combined with AR, MR, SR, and Interactive technologies, and will expand its horizon as it is produced in various forms. Therefore, it is expected that more detailed viewpoint will be applied in the subsequent study on VR cinema.

• Journal of Digital Contents Society
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• v.18 no.5
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• pp.849-858
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• 2017

With the fast improvement of software and hardware technology of Virtual Reality, VR(Virtual Reality) film get attention for the new possibility of future film. Already, the production of virtual reality film festivals and Hollywood films is highly active, but it is still poorly related to virtual reality films in Korea. Due to this, this research analyze VR film with Realism films and Post-modernism films in four aspects that are film's frame(Mise-en-$Sc{\grave{e}}ne$), shot(montage), vew point and interactivity to deduct characteristics of VR film. Moreover, we also deduct an esthetical characteristic of VR films beyond the Realism films and Post-modern Films through analysing various VR films. This can be said as 'Digital Realism' that is come from the viewers' positive interaction and realization of Realism through Virtual Reality technology. There will be a successful development of VR film based on this research that analyse suitable directing method for Virtual Reality environment. At last, this research focused on characteristics of digital realism aspect for HMD based first person view VR animation .

• Journal of Multimedia Information System
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• v.8 no.3
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• pp.167-174
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• 2021

This paper compares VR cinema with interactive cinema from an interactive perspective to examine cinemas as a new medium. Rather than revealing the difference through this, the focus is on presenting a methodology that understands the cinema in a new environment that is now standing at the starting point. The development of video technology is changing not only the external elements of content but also the internal storytelling method, but the lack of killer content has always been pointed out as a problem compared to the remarkable development of technology. Therefore, it is necessary to specify the characteristics and types of interactions represented by VR (virtual reality) and new media represented by interactive media and to present directions. Therefore, the types and characteristics of interactions were compared with VR film produced in line with the new phenomenon and interactive film . Through this, we would like to present the meaning and value of the new film format from a media perspective.

• International journal of advanced smart convergence
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• v.11 no.2
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• pp.71-76
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• 2022

The continuous development of virtual reality technology in the last five years has brought about a big change in the future film industry. Interactive VR movies using virtual reality technology in movies showed the result of increasing the immersion of the audience due to the characteristics of interaction. This will provide a unique opportunity for a new experience of immersion in various forms of cinema in the near future. In this paper, the interaction of narrative VR movies was studied as an example of the movie , which won the [The Best VR Experience Award] at the Venice International Film Festival, In future development, improve the scene transition, Dizziness, Ways of interaction and other questions, let the audience increase the sense of participation, immersion and curiosity when watching movies, and make watching movies a more interesting thing in life.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.561-568
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• 2022

The purpose of this study is to explore the narrative of VR disaster and safety Education introduced by disaster film narrative. VR(Virtual Reality) is be suitable technology for disaster and safety Education due to media characteristics as 'immersion', 'presence', 'interactivity', 'pleasure'. Disaster film narrative is able to be worth VR disaster and safety education as a variety of stories and educational effect. For this study, examine a theoretical study and a visiting research of 'Busan 119 Safety & Experience Center'. This study concludes that Firstly need to introduce catharsis effect, Secondly, build 'interactive narratives' that ensure active participation of users, Thirdly, introduce an 'adventure game' narrative element, Fourthly, introduce a hero-shaped narrative in which the user becomes a one-man hero, And lastly, need education as use user's multiple access and group experience learning. Therefore, This thesis is of academic value in that it suggest a desirable new direction of narrative in VR disaster and safety education.

• The Journal of the Korea Contents Association
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• v.20 no.4
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• pp.518-529
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• 2020

is a VR short documentary based on a real case of a Korean female sex worker Yoon Geum-yi who was killed by the US military in 1992. This study examines the mix of the first person point of view and the application of the second cadre added in the implicit frame shown in . With the development of VR technology and deepening the understanding of Virtual Cinematography, storytelling of VR films will also become diverse and interesting.

• The Journal of the Convergence on Culture Technology
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• v.9 no.1
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• pp.135-140
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• 2023

VR animation allows you to see 360-degree screen production that cannot be seen in existing animation production while being located in the space within the animation. <Goodbye Mr Octopus>, a VR animation produced in 2020, was selected at the 77th Venice Film Festival as an immersive short film. This is the story of an adolescent girl, Stella, who is celebrating her 16th birthday, and her conflict with her strict father is resolved through a letter from her mother. It is a narrative composed of a total of 11 scenes, and in each scene, new directing elements of VR video grammar, such as gaze induction, time flow, and space conversion directing, were analyzed. Gaze-inducing directing minimized the inconvenience of 360-degree gaze, and time and space conversion directing was analyzed as an effect of increasing the audience's immersion according to narrative events.

• Trans-
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• v.10
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• pp.1-13
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• 2021

If virtual reality is well known through the medias, it seems that a few visual concepts are clearly related to VR. We try to think about it and introduce to a philosophy of VR techniques. So, from techniques and media techno-powers promotional campaigns, we aim to areal technology, it means an objective reflection on the VR techniques. To do so, we study the representations of VR in films. And we conclude that a negative image is the most common representation, related, often, to an Orwellian vision of the future world. In the second part, we study some VR films, and especially some made by famous film directors (Iñárritu, Bigelow). 'Head-turn' and 'Walk-around' films are commented to check their limits. Finally, we consider that for the moment, VR remains only a new space to screen films (into VR platforms connected to the Internet).

• Cartoon and Animation Studies
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• s.49
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• pp.633-649
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• 2017

The purpose of this study is to conceptualize the changing aspects of human freedom of observation and viewing as the visual media evolves from film to 3D stereoscopic film and VR. The purpose of this study is to conceptualize the aspect of freedom and viewing aspect from the viewpoint of genealogy. In addition, I will identify the media aesthetic characteristics of VR and identify the identity and ontology of VR. Media has evolved around the most artificial sense of human being. There is a third visual space called screen at the center of all the reproduction devices centering on visual media such as painting, film, television, and computer. In particular, movies, television, and video screens, which are media that reproduce moving images, pursue perfect fantasy and visual satisfaction while controlling the movement of the audience. A mobilized virtual gaze was secured on the assumption of the floating nature of the so-called viewers. The audience sees a cinematic illusion with a view while seated in a fixed seat in a floating posture. They accept passive, passive, and passively without a doubt the fantasy world beyond the screen. But with the advent of digital paradigm, the evolution of visual media creates a big change in the tradition of reproduction media. 3D stereoscopic film predicted the extinction of the fourth wall, the fourth wall. The audience is no longer sitting in a fixed seat and only staring at the front. The Z-axis appearance of the 3D stereoscopic image reorganizes the space of the story. The viewer's gaze also extends from 'front' to 'top, bottom, left, right' and even 'front and back'. It also transforms the passive audience into an active, interactive, and experiential subject by placing viewers between images. Going one step further, the visual media, which entered the VR era, give freedom to the body of the captive audience. VR secures the possibility of movement of visitors and simultaneously coexists with virtual space and physical space. Therefore, the audience of the VR contents acquires an integrated identity on the premise of participation and movement. It is not a so-called representation but a perfection of the aesthetic system by reconstructing the space of fantasy while inheriting the simulation tradition of the screen.

• International Journal of Internet, Broadcasting and Communication
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• v.15 no.2
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• pp.196-201
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• 2023

In recent years, virtual reality (VR) technology has been widely used in many industrial fields, especially in the fields of medical treatment, games, film and television, to improve the interaction between medical teaching and practical treatment. On the gaming side, the production of virtual reality gaming screens and scenes became increasingly popular, greatly expanding the form of the visual experience. But VR is no longer confined to the health care, education and entertainment industries. During this time, the news media industry has also begun to integrate virtual reality into interviews and user interactions. This study aims to analyze the development of VR technology from the perspectives of immersive VR news experience, real reporting, and prospects, and analyze and think about the interactive participation of media users, the transformation of traditional media, and the upgrading of practitioners' roles.