Beyond sight and sound: The role of haptic technology in enhancing the cinematic virtual reality experience

References

1. Anon. (2016), ‘NYT VR wins Grand Prix for Mobile Lions at Cannes’, New York Times, 22 June, https://www.nytco.com/press/nyt-vr-wins-grand-prix-for-mobile-lions-at-cannes/#:~:text=With%20the%20launch%20of%20NYT,reality%20storytelling%20to%20the%20masses. Accessed 18 September 2023.
   [Google Scholar]
2. Anon. (2017), ‘Guardian launches the party: A virtual experience of autism’, The Guardian, 9 October, https://www.theguardian.com/gnm-press-office/2017/oct/09/guardian-launches-the-party-a-virtual-experience-of-autism. Accessed 18 September 2023.
   [Google Scholar]
3. Arora, G. and Pousman, B. (2015), Clouds Over Sidra, USA: VRSE and the UN, https://unvr.sdgactioncampaign.org/cloudsoversidra/. Accessed 22 April 2025.
   [Google Scholar]
4. Auslander, P. (2012), ‘Digital liveness: A historico-philosophical perspective’, PAJ: A Journal of Performance and Art, 34:3, pp. 3–11, https://doi.org/10.1162/pajj_a_00106.
   [Google Scholar]
5. Baobab Studios (n.d.), ‘Bonfire’, https://www.baobabstudios.com/bonfire. Accessed 18 September 2023.
6. Baudry, F. (1974), ‘Remarks on spoken words in the dream’, The Psychoanalytic Quarterly, 43:4, pp. 581–605.
   [Google Scholar]
7. Baudry, J.-L. and Williams, A. (1974), ‘Ideological effects of the basic cinematographic apparatus’, Film Quarterly, 28:2, pp. 39–47, https://doi.org/10.2307/1211632.
   [Google Scholar]
8. Blenkinsopp, R. (2019), ‘What is haptic feedback?’, Ultraleap, 5 April, https://www.ultraleap.com/company/news/blog/what-is-haptic-feedback/. Accessed 3 November 2022.
9. de Borst, A.W. and de Gelder, B. (2015), ‘Is it the real deal? Perception of virtual characters versus humans: An affective cognitive neuroscience perspective’, Frontiers in Psychology, 6, https://doi.org/10.3389/fpsyg.2015.00576.
   [Google Scholar]
10. Chen, J. (2019), ‘Open sourcing Google Cardboard’, Google for Developers Blog, 6 November, https://developers.googleblog.com/2019/11/open-sourcing-google-cardboard.html. Accessed 16 September 2023.
    [Google Scholar]
11. Colinart, A., Laburthe, A., Middleton, P. and Spinney, J. (2016), Notes on Blindness: Into Darkness, UK: Archer’s Mark, Ex Nihilo, Audiogaming, Novelab and ARTE France.
    [Google Scholar]
12. Couldry, N. (2004), ‘Theorising media as practice’, Social Semiotics, 14:2, pp. 115–32, https://doi.org/10.1080/1035033042000238295.
    [Google Scholar]
13. Danieau, F., Lécuyer, A., Guillotel, P., Fleureau, J., Mollet, N. and Christie, M. (2012), ‘Enhancing audiovisual experience with haptic feedback: A survey on HAV’, IEEE Transactions on Haptics, 6:2, pp. 193–205, https://doi.org/10.1109/TOH.2012.70.
    [Google Scholar]
14. Danieau, F., Fleureau, J., Guillotel, P., Mollet, N., Christie, M. and Lécuyer, A. (2014), ‘Toward haptic cinematography: Enhancing movie experiences with camera-based haptic effects’, IEEE Multimedia, 21:2, pp. 11–21, https://doi.org/10.1109/mmul.2013.64.
    [Google Scholar]
15. Digital Productions Arte (n.d.), ‘Notes on Blindness’, https://www.arte.tv/digitalproductions/en/notes-on-blindness/. Accessed 18 September 2023.
16. Ding, N., Zhou, W. and Fung, A. Y. H. (2018), ‘Emotional effect of cinematic VR compared with traditional 2D film’, Telematics and Informatics, 35:6, pp. 1572–79, https://doi.org/10.1016/j.tele.2018.04.003.
    [Google Scholar]
17. Dolan, D. and Parets, M. (2016), ‘Redefining the axiom of story: The VR and 360 video complex’, TechCrunch, 14 January, https://techcrunch.com/2016/01/14/redefining-the-axiom-of-story-the-vr-and-360-video-complex/. Accessed 3 November 2022.
18. Dooley, K. (2019), ‘A question of proximity: Exploring a new screen grammar for 360-degree cinematic virtual reality’, Media Practice and Education, 21:2, pp. 1–16, https://doi.org/10.1080/25741136.2019.1641005.
    [Google Scholar]
19. Dooley, K. (2021), ‘Spatial relationships in 360-degree space: Proximity, body orientation and the gaze’, in K. Dooley (ed.), Cinematic Virtual Reality: A Critical Study of 21st Century Approaches and Practices, New York: Springer Publishing, pp. 97–110, https://doi.org/10.1007/978-3-030-72147-3_6.
    [Google Scholar]
20. Google (n.d.), ‘Google Cardboard’, https://arvr.google.com/cardboard/. Accessed 16 September 2023.
21. Hall, S. (2018), ‘Encoding and decoding in the television discourse (originally 1973; republished 2007)’, in D. Morley (ed.), Essential Essays, Volume 1: Foundations of Cultural Studies, Durham, NC: Duke University Press, pp. 257–76, https://doi.org/10.2307/j.ctv11cw7c7.16.
    [Google Scholar]
22. Lombard, M. and Ditton, T. (1997), ‘At the heart of it all: The concept of presence’, Journal of Computer-Mediated Communication, 3:2, https://doi.org/10.1111/j.1083-6101.1997.tb00072.x.
    [Google Scholar]
23. Mateer, J. (2017), ‘Directing for cinematic virtual reality: How the traditional film director’s craft applies to immersive environments and notions of presence’, Journal of Media Practice, 18:1, pp. 14–25, https://doi.org/10.1080/14682753.2017.1305838.
    [Google Scholar]
24. Metz, C. and Guzzetti, A. (1976), ‘The fiction film and its spectator: A metapsychological study’, New Literary History, 8:1, pp. 75–105, https://doi.org/10.2307/468615.
    [Google Scholar]
25. Morse, M. (1998), Virtualities: Television, Media Art, and Cyberculture, Bloomington, IN: Indiana University Press.
    [Google Scholar]
26. Mütterlein, J. (2018), ‘The three pillars of virtual reality? Investigating the roles of immersion, presence, and interactivity’, in T. X. Bui (ed.), Proceedings of the 51st Hawaii International Conference on System Sciences, Hilton Waikoloa Village, Hawaii, 3–6 January, Honolulu, HI: University of Hawai‘i at Mānoa, pp. 1407–15, https://doi.org/10.24251/hicss.2018.174.
    [Google Scholar]
27. Newton, K. and Soukup, K. (2016), ‘The storyteller’s guide to the virtual reality audience’, Medium, 21 June, https://medium.com/stanford-d-school/the-storyteller-s-guide-to-the-virtual-reality-audience-19e92da57497. Accessed 5 November 2022.
    [Google Scholar]
28. Nicolae, D. F. (2018), ‘Spectator perspectives in virtual reality cinematography. the witness, the hero and the impersonator’, Ekphrasis: Images, Cinema, Theory, Media, 20:2, pp. 168–78, https://doi.org/10.24193/ekphrasis.20.10.
    [Google Scholar]
29. O’Modhrain, S. and Oakley, I. (2003), ‘Touch TV: Adding feeling to broadcast media’, European Conference on Interactive Television: From Viewers to Actors?, Brighton, UK, 2–4 April.
    [Google Scholar]
30. Riva, G., Mantovani, F., Capideville, C. S., Preziosa, A., Morganti, F., Villani, D., Gaggioli, A., Botella, C. and Alcañiz, M. (2007), ‘Affective interactions using virtual reality: The link between presence and emotions’, CyberPsychology & Behavior, 10:1, pp. 45–56, https://doi.org/10.1089/cpb.2006.9993.
    [Google Scholar]
31. Silverstein, J. (2015), ‘The Displaced: Introduction’, New York Times, 8 November, https://www.nytimes.com/2015/11/08/magazine/the-displaced-introduction.html. Accessed 16 September 2023.
    [Google Scholar]
32. Slater, M. and Wilbur, S. (1997), ‘A framework for immersive virtual environments (five): Speculations on the role of presence in virtual environments’, Presence: Teleoperators and Virtual Environments, 6:6, pp. 603–16, https://doi.org/10.1162/pres.1997.6.6.603.
    [Google Scholar]
33. Steuer, J. (1992), ‘Defining virtual reality: Dimensions determining telepresence’, Journal of Communication, 42:4, pp. 73–93, https://doi.org/10.1111/j.1460-2466.1992.tb00812.x.
    [Google Scholar]
34. Syrett, H., Calvi, L. and van Gisbergen, M. S. (2016), ‘The Oculus Rift film experience: A case study on understanding films in a head mounted display’, in R. Poppe, J. J. Meyer, R. Veltkamp and M. Dastani (eds), Intelligent Technologies for Interactive Entertainment: 8th International Conference, Utrecht, The Netherlands, 28–30 June, New York: Springer Publishing, pp. 197–208, https://doi.org/10.1007/978-3-319-49616-0_19.
    [Google Scholar]
35. Tong, L., Lindeman, R. W. and Regenbrecht, H. (2021), ‘Viewer’s role and viewer interaction in cinematic virtual reality’, Computers, 10:5, p. 66, https://doi.org/10.3390/computers10050066.
    [Google Scholar]
36. Wallworth, L. (n.d.), ‘Collisions: The inaugural virtual reality film from the Sundance Institute New Frontier | Jaunt VR Residency Program’, Collisions VR, http://www.collisionsvr.com/assets/downloads/PressNotes_Collisions_WEFDavos_SundanceParkCity_012216.pdf. Accessed 14 July 2022.
    [Google Scholar]
37. Dooley, K. (2022), Cinematic Virtual Reality: A Critical Study of 21st Century Approaches and Practices, London: Palgrave Macmillan.
    [Google Scholar]
38. Ijsselsteijn, W., Ridder, H. de, Hamberg, R., Bouwhuis, D. and Freeman, J. (1998), ‘Perceived depth and the feeling of presence in 3DTV’, Displays, 18:4, pp. 207–14, https://doi.org/10.1016/s0141-9382(98)00022-5.
    [Google Scholar]
39. Metz, C. and Guzzetti, A. (1976), ‘The fiction film and its spectator: A metapsychological study’, New Literary History, 8:1, p. 75, https://doi.org/10.2307/468615.
    [Google Scholar]