Научно-публицистический журнал “Центр и периферия”
The scientific journal “Center and Periphery”
Fadeeva T. E., Staruseva-Persheeva A. D.
Since the 1960s, virtual reality has been developing non-linearly, as the creation of digital interactive universes has received more or less attention both from the entertainment industry and from art theorists and practitioners. Only a systemic technological shift that occurred in the early 2010s, when relatively convenient and cheap virtual reality helmets appeared on the market (and became available to artists), launched an artistic development of this facility, its comprehension as a new medium in the field of media art. In 2017, the Venice Film Festival opened a special nomination dedicated to films in virtual reality. In the same year, Alejandro González Iñárritu showed his famous VR installation “Flesh and Sand” at the Cannes Film Festival. Festivals, fairs and biennales of contemporary art are also increasingly including VR works in their programs, and since the 2020s, cultural industries are moving towards the development of metaverses (virtual platforms of Sotheby's, Christie's, art galleries, etc. are being created). Thus, the theoretical understanding of the aesthetic possibilities of virtual reality turns out to be a relevant and significant research task today. This research is devoted to the development of multimedia and interdisciplinary artistic practices, the intersection of which virtual reality becomes today. It turns out to be the “meeting point” of artistic experiments and synthesizes various languages, those of cinematography, theater, game design, offering the viewer a new aesthetic experience. The viewer is now involved in the action, kinesthetically discovering himself in the system of possibilities and limitations of the VR space designed by the artist, becoming, as it were, one of the figures of the sign, transforming together with the work as a whole.
Keywords: virtual reality, media art, contemporary art, contemporary visual culture, cinematography, game design, screen arts
For citation: Fadeeva TE, Staruseva-Persheeva AD. Frontier and “external circuit” of the moving image: cinematography and virtual reality. Center and Periphery. 2023;18(1):80—89. EDN DAVZGI
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Information about the authors:
Tatiana E. Fadeeva, Associate Professor of Art and Design School of the Faculty of Creative Industries of the National Research University “Higher School of Economics” (12 Malaya Pionerskaya Str., Moscow 115054, Russia), Candidate of Art History, ORCID: https://orcid.org/0000-0002-6754-4235, Researcher ID: Z-2521-2019, firstname.lastname@example.org
Alexandra D. Staruseva-Persheeva, Associate Professor of Art and Design School, Academic Supervisor of Contemporary Art Programme of the Faculty of Creative Industries of the National Research University “Higher School of Economics” (12 Malaya Pionerskaya Str., Moscow 115054, Russia), Candidate of Art History, ORCID: https://orcid.org/0000-0002-2969-2720, Researcher ID: K-4730-2015, email@example.com
Contribution of the authors:
Fadeeva T. E. — development of the concept of “extended frame” in the context of VR, description and analysis of VR projects within the sections “VR-film” and “Hybrid format — at the junction of film and game”, academic editing of the text, summarizing the results of the research, formulating of the conclusion;
Staruseva-Persheeva A. D. — outlining of the introduction, development of a genealogy of VR projects in the context of multimedia art, description and analysis of VR projects within the sections “VR role-playing game” and “VR performance”, development of a methodology for analyzing a moving image in a multimedia field, literary text editing.
Conflict of interests: the authors declare no conflict of interests.
The authors have read and approved the final version of the manuscript.
The article was submilted 06.12.2022; approved after reviewing 30.12.2022; accepted for publication 09.01.2023.