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With reference to traditional film theory and frameworks drawn from
fields such as screenwriting studies and anthropology, this book
explores the challenges and opportunities for both practitioners
and viewers offered by the 360-degree storytelling form. It focuses
on cinematic virtual reality (CVR), a format that involves
immersive, high quality, live action or computer-generated imagery
(CGI) that can be viewed through head mounted display (HMD) goggles
or via online platforms such as YouTube. This format has surged in
popularity in recent years due to the release of affordable high
quality omnidirectional (360-degree) cameras and consumer grade
HMDs. The book interrogates four key concepts for this emerging
medium: immersion, presence, embodiment and proximity through an
analysis of innovative case studies and with reference to
practitioner interviews. In doing so, it highlights the specificity
of the format and provides a critical account of practitioner
approaches to the concept development, writing and realisation of
short narrative CVR works. The book concludes with an account of
the author's practice-led research into the form, providing a
valuable example of creative practice in the field of immersive
media.
This handbook is an essential creative, critical and practical
guide for students and educators of screen production
internationally. It covers all aspects of screen production-from
conceptualizing ideas and developing them, to realizing and then
distributing them-across all forms and formats, including fiction
and non-fiction for cinema, television, gallery spaces and the web.
With chapters by practitioners, scholars and educators from around
the world, the book provides a comprehensive collection of
approaches for those studying and teaching the development and
production of screen content. With college and university students
in mind, the volume purposely combines theory and practice to offer
a critically informed and intellectually rich guide to screen
production, shaped by the needs of those working in education
environments where 'doing' and 'thinking' must co-exist. The
Palgrave Handbook of Screen Production fills an important gap in
creative-critical knowledge of screen production, while also
providing practical tools and approaches for future practitioners.
This handbook is an essential creative, critical and practical
guide for students and educators of screen production
internationally. It covers all aspects of screen production-from
conceptualizing ideas and developing them, to realizing and then
distributing them-across all forms and formats, including fiction
and non-fiction for cinema, television, gallery spaces and the web.
With chapters by practitioners, scholars and educators from around
the world, the book provides a comprehensive collection of
approaches for those studying and teaching the development and
production of screen content. With college and university students
in mind, the volume purposely combines theory and practice to offer
a critically informed and intellectually rich guide to screen
production, shaped by the needs of those working in education
environments where 'doing' and 'thinking' must co-exist. The
Palgrave Handbook of Screen Production fills an important gap in
creative-critical knowledge of screen production, while also
providing practical tools and approaches for future practitioners.
With reference to traditional film theory and frameworks drawn from
fields such as screenwriting studies and anthropology, this book
explores the challenges and opportunities for both practitioners
and viewers offered by the 360-degree storytelling form. It focuses
on cinematic virtual reality (CVR), a format that involves
immersive, high quality, live action or computer-generated imagery
(CGI) that can be viewed through head mounted display (HMD) goggles
or via online platforms such as YouTube. This format has surged in
popularity in recent years due to the release of affordable high
quality omnidirectional (360-degree) cameras and consumer grade
HMDs. The book interrogates four key concepts for this emerging
medium: immersion, presence, embodiment and proximity through an
analysis of innovative case studies and with reference to
practitioner interviews. In doing so, it highlights the specificity
of the format and provides a critical account of practitioner
approaches to the concept development, writing and realisation of
short narrative CVR works. The book concludes with an account of
the author's practice-led research into the form, providing a
valuable example of creative practice in the field of immersive
media.
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