DOI: 10.5593/SGEMSOCIAL2016/HB41/S06.045


A. Ceplitis
Thursday 6 October 2016 by Libadmin2016

References: 3rd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2016, www.sgemsocial.org , SGEM2016 Conference Proceedings, ISBN 978-619-7105-53-7 / ISSN 2367-5659, Apr 06-09, Book 4, Vol.1, 353-360 pp, DOI: 10.5593/SGEMSOCIAL2016/HB41/S06.045

The advances in the digital technology of the entertainment industry have ushered a viewer into the dawn of virtual surround cinema. With the presence of technological pioneers such as NextVR Digital, Nokia OZO, Google Jump, Lytro Immerge, PanoCam3D, to name a few, the capture and display of 360° ultra-high definition video that aims to offer an immersive physical and visual experience, both on big screens and on portable devices, is gradually becoming accessible to an average consumer. The current 360° filmmaking (often referred to as spherical cinema), however, parrots the narrative and aesthetic schemata of the flat 2D films, and, in doing so, it binds the medium into an inelegant representation, unfit for the new digital setting. Because 360° film production is fundamentally an offshoot of the post-digital era, it inevitably gravitates towards the breakdown of the authoritarian structures producing a novel narrative and visual regime that departs from the classic spectatorships towards a deeply immersive psychosomatic experientiality. Warranted by VR technologies, such an experientiality is best served when rhizomatic narrative structure is deployed.
Based on the concept of rhizome, which was fleshed out in Gilles Deleuze’s and Felix Guattari’s A thousand plateaus: Capitalism and Schizophrenia to advocate rhizome as the fundamental nucleus unto which social, aesthetic, political, and human interactive models could be built, as well as via simulation of video prototypes done in 360°, the author contends that rhizomatic thinking, is already locked within the essence of 360 video. The question is not whether rhizomatic narrative should be espoused, but whether rhizomatic narrative can be advanced to the level where it superseded linear, non-linear, and interactive (albeit still linear) story structure, seen in video games and hypertext works, in addition of being set apart from the design of micro-narratives, so that the rhizome moved from being a mere Deleuzoguattarian metaphor to a practical utility used 360° film production.

rhizomatic taxonomy, narrative design, spherical video, 360° cinematography, virtual reality

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