The star in VR
The star in VR
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VR中的明星
DOI：
10.1080/19392397.2019.1672996
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发表时间：
2019
影响因子：
1.5
通讯作者：
S. Thomas
中科院分区：
文献类型：
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作者：
S. Thomas
自2010年代中期以来，虚拟现实（VR）媒体和技术得到了持续的投资，旨在瞄准大众消费市场；然而，该行业还远未稳定，大众消费娱乐市场的采用挑战依然存在。本文探讨了电影明星如何被用作促进VR的手段，帮助与新技术、文本、观众和市场的谈判和参与。它通过识别VR中明星运作的三种独立但相互关联的方式，考虑了电影明星对这种新兴媒体技术的潜在文化、文本和经济意义。首先，作为一个话语网站，电影明星在VR平台的推广中意味着质量和经济可行性。其次，作为一种文本结构，体现了VR文本的沉浸性，体现了VR自身的感知与在场二分法。第三，作为一个跨媒体系统，连接全球市场，实现电影和VR两种形式的资本投资。在所有的舞台上，电影明星的意义在于他们作为桥梁力量的能力，以及作为质量和深度的形象的持续认知。这进一步反映了明星和VR之间的相似之处，即两者都依赖于沉浸式、扩展式和连接式体验的承诺。
ABSTRACT Since the mid-2010s there has been sustained investment in Virtual Reality (VR) media and technology, aiming to target a mass consumer market; however the industry is far from stable and challenges of adoption for the mass consumer entertainment market remain. This article examines how film stardom is being employed as a means of facilitating VR, aiding negotiation and engagement with new technologies, texts, audiences and markets. It considers the potential cultural, textual and economic significance of the film star to this emergent media technology by identifying three independent-but-interrelated ways that stardom operates in VR. Firstly, as a discursive site where film stardom connotes quality and economic viability in the promotion of the VR platform. Secondly, as a textual structure that embodies the immersive nature of the VR text, reflecting VR’s own dichotomies of perception and presence. Thirdly, as a transmedia system, connecting global markets and enabling capital investment in both film and VR forms. Throughout all arenas, film star significance is located in continuing perceptions of their ability to act as bridging forces, and as images of quality and depth. This further reflects the parallels between stardom and VR, whereby both rely on the promise of immersive, expansive, connected experiences.