The Journal of the Korea Contents Association (한국콘텐츠학회논문지)

The Korea Contents Association (한국콘텐츠학회)
권호 표지
DOI QR코드

DOI QR Code

The Existence of Implicit Frames in VR Movies

VR 영화에서 암묵적 프레임의 존재

  • 김태은 (동양대학교 공연영상학부)
  • Received : 2018.07.20
  • Accepted : 2018.08.14
  • Published : 2018.08.28
Download PDF
⟨ Previous Next ⟩

Abstract

VR movies form a relationship with the audience in completely different ways from general movies with their screen. In VR movies, the audience becomes the camera and also the subject of the camera viewpoint, which raises a need for a frame theory unique to VR movies to examine the first person viewpoint and replace the edition of frames to deliver a narrative. In VR movies, the frames delivering a narrative are not revealed and perform the symbolic narrative function, thus being called "implicit frames." The study discussed their related theoretical backgrounds including Russian Ark made in the one shot, one cut method by Alexander Sokurov, off-screen elements, and the Fourth Wall. In VR movies, the audience gets immersed in the narrative based on their paradoxical dilemma, which means that they exist in reality but are absent on screen at the same time, and experiences hyper-reality. In VR movies, space has a couple of attributes including the blocking of eyeline to move it and telepresence to tie up presence between reality and virtuality.

VR영화는 일반영화에서의 스크린 화면과 관객과의 관계가 전혀 다르게 형성된다. 관객이 곧 카메라가 되고 카메라의 시점의 주체가 되기 때문에 1인칭 시점에 대한 고찰과 서사를 전달하는 프레임의 편집을 대체할 VR영화만의 프레임 이론이 필요하다. VR영화의 서사전달기능을 하는 프레임의 존재를 드러나지 않으면서 상징적 서사기능을 한다는 의미로써 '암묵적'프레임이라 명명하고 이와 관련된 이론적 배경으로 원씬 원컷으로 제작된 쇼쿠로프감독의 <러시아방주>와 외화면적 요소, 제4의 벽의 개념을 가져올 수 있다. VR영화 속 관객은 현존하지만 동시에 화면 안에서 부재하는 역설적인 딜레마를 가지고 서사에 몰입하게 되면서 하이퍼리얼리티를 겪는다. VR영화 공간에서 시선을 움직이는 시선의 블로킹, 실제와 가상사이의 현존을 묶어주는 원격현존의 속성을 지닌다.

Keywords

References

  1. A. Bureaud, "Multimedia, From Wagner to Virtual Reality," Leonardo, Vol.35, No.1, p.101, 2002.
  2. R. Aylett and S. Louchart, "Towards a narrative theory of virtual reality," Virtual Reality, Vol.7, No.1, pp.2-9, 2003. https://doi.org/10.1007/s10055-003-0114-9
  3. T. Schubert and J. Crusius, "Five theses on the book problem: Presence in books, film and VR," PRESENCE 2002-Proceedings of the fifth international workshop on Presence. Porto, Portugal: Universidad Fernando Pessoa., pp.53-59, 2002.
  4. T. Eriksson, A Poetics of Virtuality, Chalmers University of Technology, pp.3-7, 2016.
  5. https://vrwiki.wikispaces.com/Field+of+view, 2018.6.10.
  6. D. Bordwell, J. Staiger, and K. Thompson, The classical Hollywood cinema: Film style and mode of production, New York: Columbia University Press, pp.310-328, 1985.
  7. E. S. Tan, Emotion and the structure of narrative film: Film as an emotion machine, Routledge, pp.52-53, 2013.
  8. 김태은, 회화에 있어 동시적 시각의 조형성 연구: 다시점의 평면환경을 중심으로, 홍익대학교 대학원, 석사학위논문, p.10, 2001.
  9. 김호영, "시각매체에서의 이차 프레임의 다양한 의미작용 연구," 한국프랑스학논집, 제57권, pp.243-262, 2007.
  10. T. Steger, "The stories metaphors tell: metaphors as a tool to decipher tacit aspects in narratives," Field Methods, Vol.19, No.1, pp.3-23, 2007. https://doi.org/10.1177/1525822X06292788
  11. H. Farocki, B. Filmproduktion, and Factory Films, Workers Leaving the Factory, Goethe-Institut, pp.3-4, 1995.
  12. K. N. Kotwal, Variations of virtual reality in theatre and film: Truth and illusion via art and technology, Diss., The Ohio State University, pp.37-44, 2000.
  13. K. Brooks, There is nothing virtual about immersion: Narrative immersion for VR and other interfaces, p.4, 2003. http://alumni.media.mit.edu/-brooks/storybiz/immersiveNotVirtual.pdf, accessed May 2007.
  14. 정미숙, "소쿠로프 감독의< 러시아방주> 에서의 공간," 영상예술연구, 제12권, pp.161-183, 2008.
  15. P. Baudisch and R. Rosenholtz, "Halo: a technique for visualizing off-screen objects," Proceedings of the SIGCHI conference on Human factors in computing systems, ACM, 2003(4).
  16. P. Dawson, R. Levy, and N. Lyons, "'Breaking the fourth wall': 3D virtual worlds as tools for knowledge repatriation in archaeology," Journal of Social Archaeology, Vol.11, No.3, pp.387-402, 2011. https://doi.org/10.1177/1469605311417064
  17. https://www.oculus.com/story-studio/blog/theswayze-effect/, 2018.6.20.
  18. E. Biberman, "On Narrativity in the Visual Field: A Psychoanalytic View of Velazquez's "Las Meninas"," Narrative, Vol.14, No.3, pp.237-253, 2006. https://doi.org/10.1353/nar.2006.0009
  19. C. Tricart, VR as a Storytelling Tool. In Virtual Reality Filmmaking, Focal Press, pp.99-128, 2017.
  20. T. Lentz, I. Assenmacher, M. Vorlander, and T. Kuhlen, "Precise near-to-head acoustics with binaural synthesis," JVRB-Journal of Virtual Reality and Broadcasting, Vol.3, No.2, 2006.
  21. J. A. King, N. Burgess, T. Hartley, F. Vargha Khadem, and J. O'Keefe, "Human hippocampus and viewpoint dependence in spatial memory," Hippocampus, Vol.12, No.6, pp.811-820, 2002. https://doi.org/10.1002/hipo.10070
  22. J. Steuer, "Defining virtual reality: Dimensions determining telepresence," Journal of communication, Vol.42, No.4, pp.73-93, 1992. https://doi.org/10.1111/j.1460-2466.1992.tb00812.x
  23. S. Wirth, P. Baraduc, A. Plante, S. Pinede, and J. R. Duhamel, "Gaze-informed, task-situated representation of space in primate hippocampus during virtual navigation," PLoS biology, Vol.15, No.2, p.e2001045, 2017. https://doi.org/10.1371/journal.pbio.2001045
  24. E. M. Howlett, "A wide field of view, high resolution compact virtual reality display," Proceedings of SID Symposium Digest, 1992.
  25. M. A. Moser and D. MacLeod, "Immersed in Technology: Art and Virtual Environments, ed," Leonardo, Vol.29, No.3, pp.235-238, 1996.
  26. R. Aylett and S. Louchart, "Towards a narrative theory of virtual reality," Virtual Reality, Vol.7, No.1, pp.2-9, 2003. https://doi.org/10.1007/s10055-003-0114-9
  27. N. Burch, To the distant observer:Form and meaning in the Japanese cinema, Univ of California Press, 1982.
  28. S. Alifragkis and F. Penz, "Spatial dialectics: montage and spatially organised narrative in stories without human leads," Digital Creativity, Vol.17, No.4, pp.221-233, 2006. https://doi.org/10.1080/14626260601074136
  29. M. Slater, M. Usoh, and A. Steed, "Depth of presence in virtual environments," Presence: Teleoperators & Virtual Environments, Vol.3. No.2, pp.130-144, 1994. https://doi.org/10.1162/pres.1994.3.2.130
  30. C. Burdea Grigore and P. Coiffet, Virtual reality technology, London: Wiley-Interscience, p.40, 1994.
  31. M. A. Doane, "The voice in the cinema: The articulation of body and space," Yale French Studies, Vol.60, pp.33-50, 1980.
  32. D. Vertov, Kino-eye: the writings of Dziga Vertov, Univ of California Press, 1984.