Araştırma Makalesi
BibTex RIS Kaynak Göster

Sanal gerçeklik teknolojisi ile yeni bir sinema formu: VR film

Yıl 2025, Cilt: 5 Sayı: 2, 154 - 169, 28.07.2025

Kenan Subaşi , Alev Parsa , Elçin As

https://doi.org/10.56723/dyad.1677487

Öz

Sinema, 19. yüzyılın sonlarında Paris’te gerçekleştirilen ilk film gösteriminden itibaren, kendine özgü estetik ve anlatı biçimlerini inşa etme yönündeki arayışını sürdürmektedir. Bu arayışın merkezinde ise, dönemin teknolojik gelişmelerinin sunduğu imkânlar yer almaktadır. Sinemanın teknolojik yenilikleri keşfetme ve deneyimleme yönündeki eğilimi, zaman içerisinde biçimsel ve anlatısal dönüşümlere yol açarak, sinemanın farklı tür ve alt kategorilere evrilmesine neden olmuştur. Her ne kadar bazı sinema kuramcıları bu teknolojik yönelimin, genç bir sanat dalı olarak sinemanın özünü tehdit ettiğini iddia etmişlerse de, günümüzde sinema ile teknoloji arasındaki ilişkinin artık geri dönüşü olmayan bir noktaya ulaştığı görülmektedir. İlk film gösterimlerinden bu yana, sinema deneyimi izleyicinin iki boyutlu bir düzlemde, dikdörtgen bir çerçeve içinde sıralı devinimlerle oluşturulan görüntülere sabit bir konumda tanıklık etmesine dayanmaktadır. Ancak 21. yüzyılın başından itibaren hızla gelişen bilişim teknolojileri, dijitalleşme süreçleri ve özellikle oyun endüstrisine özgü etkileşimli sistemler, görsel sanatların üretim, dağıtım ve gösterim pratiklerinde köklü dönüşümlere yol açmış; bu durum sinema anlatısına da yeni bir form kazandırmıştır: VR Film. Sinema ile çağdaş teknolojilerin kesişim noktasında konumlanan VR film, geleneksel izleme pratiklerinin ötesine geçerek, izleyiciyi giyilebilir teknolojiler aracılığıyla üç boyutlu sanal bir mekânda, gerçek zamanlı ve mekânsal bir deneyime dâhil etmektedir. VR sinemayı yalnızca teknik bir yenilik veya araçsal bir gelişim olarak ele almak, bu anlatı formunun sunduğu epistemolojik ve estetik olanakları göz ardı etmek anlamına gelecektir. Bu çerçevede, sinemanın tarihsel gelişim süreci içerisinde karanlık kutudan sinematografın icadına, ses ve renk teknolojilerinden dijital sinemaya kadar uzanan teknolojik evrimsel çizgiyi takip etmek; sinema ile teknoloji arasındaki etkileşimsel ilişkiyi kavramsallaştırmak, VR sinemanın geleceğine yönelik kuramsal bir perspektif geliştirebilmek açısından belirleyici önemdedir.

Anahtar Kelimeler

VR film sanal gerçeklik sineması deneyimsel film sürükleyici video VR anlatı

Kaynakça

  • [1] Manley B. Moving Pictures: The History of Early Cinema. ProQuest Discovery Guides, 1-15, 2011.
  • [2] Nowell-Smith G. The Oxford History of World Cinema. 1st edition. Oxford, UK, Oxford University Press, 1996.
  • [3] Cevher E. The Effects of DSLR Cameras on Filmmaking and Style. MSc Thesis, Mersin University Institute of Social Sciences, Mersin, Türkiye, 2017.
  • [4] Abisel N. Silent Cinema. 2nd edition. İstanbul, Türkiye, Om Yayınevi, 2003.
  • [5] Mannoni L. The Great Art of Light and Shadow: Archaeology of the Cinema. 1st edition. Exeter, UK, University of Exeter Press, 2000.
  • [6] Huhtamo E. From Cybernation to Interaction: A Contribution to an Archaeology of Interactivity. Editor: Lunenfeld P. The Digital Dialectic: New Essays on New Media, 96-110, Massachusetts, USA, MIT Press,1999.
  • [7] Onaran AŞ. History of Silent Cinema. 1st edition. Ankara, Türkiye, Kitle Yayınları, 1994.
  • [8] Thompson K, Bordwell D. Film History: An Introduction. 2nd edition. New York, USA, McGraw-Hill, 2002.
  • [9] Acar A. History of Silent Cinema. Istanbul, Türkiye, Doruk Yayımcılık, 2017.
  • [10] Lipton L. The Cinema in Flux: The Evolution of Motion Picture Technology from the Magic Lantern to the Digital Era. 1st edition. New York, USA, Springer, 2021.
  • [11] Abel R, Altman RR. The Sounds of Early Cinema. Indiana, USA, Indiana University Press, 2001.
  • [12] Buyan B. Hugo Münsterberg. Editor: Özarslan Z. Theories of Cinema-1. 9-33, Istanbul, Türkiye, Su Yayınları, 2015.
  • [13] Erdikmen A. Rudolf Julius Arnheim. Editor: Özarslan Z. Theories of Cinema-1. 35-49, Istanbul, Türkiye, Su Yayınları, 2015.
  • [14] Monaco J. How to Read a Movie? Istanbul, Türkiye, Oğlak Yayıncılık ve Reklamcılık, 2001.
  • [15] Hébert LP. Le View-Master. Maryland, USA, Johns Hopkins University Press, 2019.
  • [16] Özdal I. “The Origins of the Panoramic Photography and The Examples of Turkey”. Journal of Art and Design, 1(1), 104-116, 2008.
  • [17] Jacobs C. Interactive Panoramas: Techniques for Digital Panoramic Photography. 1st edition. New York, USA, Springer, 2004.
  • [18] Mandal S. “Brief Introduction of Virtual Reality and Its Challenges”. International Journal of Scientific and Engineering Research, 4(4), 304-309, 2013.
  • [19] Martirosov S, Kopecek P. Virtual Reality and its Influence on Training and Education. Editor: Katalinič B. Proceedings of the 28th International DAAAM Symposium, Wien, Avusturya, Daaam International, 2017.
  • [20] Jones S, Dawkins S. The Sensorama Revisited: Evaluating the Application of Multi-sensory Input on the Sense of Presence in 360-Degree Immersive Film in Virtual Reality. Editors: Jung T, tom Dieck MC. Augmented Reality and Virtual Reality, 183-197, Springer, 2018.
  • [21] Zheng JM, Chan KW, Gibson I. “Virtual Reality”. IEEE Potentials, 17(2), 20-23, 1998.
  • [22] Wake N, Rosenkrantz AB, Huang WC, Wysock JS, Taneja SS, Sodickson DK, et al. “A Workflow to Generate Patient-Specific Three-Dimensional Augmented Reality Models from Medical Imaging Data and Example Applications in Urologic Oncology”. 3D Printing in Medicine, 7(1), 34-46, 2021.
  • [23] Dodsworth Jr C. Digital Illusion: Entertaining the Future with High Technology. 1st edition. New York, USA, ACM press, 1997.
  • [24] Żmigrodzka M. “Development of Virtual Reality Technology in The Aspect of Educational Applications”. Marketing of Scientific and Research Organizations, 24(4), 117-134, 2017.
  • [25] Bow J, White E, Boopalan A. Looking for the Ultimate Display. Editors: Gackenbach J, Bown J. Boundaries of Self and Reality Online, 239-259, Canada, Elsevier, 2017.
  • [26] Billinghurst M. “Grand Challenges for Augmented Reality”. Frontiers in Virtual Reality, 2, 2021.
  • [27] Steinicke F. The Science and Fiction of the Ultimate Display. Editor: Steinicke F. Being Really Virtual Immersive Natives and the Future of Virtual Reality. 19-32, Springer, 2016.
  • [28] Krueger MW, Gionfriddo T, Hinrichsen K. “Videoplace an Artificial Reality”. Proceedings of the SIGCHI Conference on Human Factors in Computing Systems-CHI, San Francisco, USA, 14-18 April 1985.
  • [29] Fisher SS, Wenzel EM, Coler C, McGreevy MW. “Virtual Interface Environment Workstations”. Proceedings of the Human Factors Society Annual Meeting, 32(2), 91-95, 1988.
  • [30] Murray JH. Inventing the Medium: Principles of Interaction Design as a Cultural Practice. 1st edition. Massachusetts, USA, MIT Press, 2011.
  • [31] Meta. “Meta Quest 3”. https://www.meta.com/quest/quest-3 (11.04.2025).
  • [32] Apple. “Apple Vision Pro”. https://www.apple.com/apple-vision-pro (11.04.2025).
  • [33] Samsung. “Samsung Gear”. https://www.samsung.com/tr/support/model/SM-R322NZWATUR (11.04.2025).
  • [34] Wohlgenannt I, Simons A, Stieglitz S. “Virtual Reality”. Bus Inf Syst Eng, 62, 455-461, 2020.
  • [35] Gigante MA. Virtual Reality: Definitions, History and Applications. Editors: Earnshaw RA, Gigante MA, Jones H. Virtual Reality Systems, 3-14, California, USA, Academic Press, 1993.
  • [36] Mazuryk T, Gervautz M. “History, Applications, Technology and Future”. Virtual Reality, 72(4), 486-497, 1996.
  • [37] Walsh K. “Virtual Reality for Learning: Some Design Propositions”. Americas Conference on Information Systems AMCIS 2001 Proceedings, Toronto, Canada, 2001.
  • [38] Blach R. Virtual Reality Technology-An Overview. Editors: Talaba D, Amditis A. Product Engineering, 21-64, Netherlands, Springer, 2008.
  • [39] Walsh KR, Pawlowski SD. “Virtual Reality: A Technology in Need of IS Research”. Communications of the Association for Information Systems, 8(1), 297-313, 2002.
  • [40] Subaşı K, Parsa AF. New Challenges and New Opportunities Through Interactive Cinema in New Media Case Study: 360 Degree Film. Editor: Türten B. Cinema Studies, 1-19, Florida, USA, USF M3 Publishing, 2022.
  • [41] Berryman DR “Augmented Reality: A Review”. Medical Reference Services Quarterly, 31(2), 212-218, 2012.
  • [42] Carmigniani J, Furht B, Anisetti M, Ceravolo P, Damiani E, Ivkovic M. “Augmented Reality Technologies, Systems and Applications”. Multimedia Tools and Applications, 51(1), 341-377, 2011.
  • [43] İpek AR “Mixed Reality Problems”. RumeliDE Journal of Language and Literature Studies, S13, 755-770, 2023.
  • [44] Pan Z, Cheok AD, Yang H, Zhu J, Shi J. “Virtual Reality and Mixed Reality for Virtual Learning Environments”. Computers and Graphics, 30(1), 20-28, 2006.
  • [45] Cheng R, Wu N, Chen S, Han B. “Will Metaverse Be NextG Internet? Vision, Hype, and Reality”. IEEE Network, 36(5), 197-204, 2022.
  • [46] Vasarainen M, Paavola S, Vetoshkina L. “A Systematic Literature Review on Extended Reality: Virtual, Augmented and Mixed Reality in Working Life”. International Journal of Virtual Reality, 21(2), 1-28, 2021.
  • [47] Batu M, Kocaömer C. “What is the Metaverse? A New Definition Proposal in the Context of the Literature Background”. Selcuk University Journal of Institute of Social Sciences, 51, 92-112, 2023.
  • [48] Ant M, Jorge CAF, Couto PM. “Using a Game Engine for VR Simulations in Evacuation Planning”. IEEE Computer Graphics and Applications, 28(3), 6-12, 2008.
  • [49] Vohera C, Chheda H, Chouhan D, Desai A, Jain V. “Game Engine Architecture and Comparative Study of Different Game Engines”. 12th International Conference on Computing Communication and Networking Technologies, Kharagpur, India, 6-8 July 2021.
  • [50] Game Engines “Game Engine Logos”, https://www.vanas.ca/images/blog/best-video-game-engines-vanas.jpg (11.04.2025).
  • [51] Lewis M, Jacobson J. “Game Engines in Scientific Research”. Communications of the ACM, 45(1), 27-31, 2002.
  • [52] Vargün Ö. “Transformation of Technology and Art: Digital Art”. Journal of Arts, 6(1), 49-54, 2023.
  • [53] Ugurlu H. “Technology and Art: The Purpose of Contemporary Technological Arts”. Uşak Üniversitesi Sosyal Bilimler Dergisi, 1(2), 247-262, 2008.
  • [54] Coburn JQ, Freeman I, Salmon, JL. “A Review of the Capabilities of Current Low-Cost Virtual Reality Technology and Its Potential to Enhance the Design Process”. Journal of Computing and Information Science in Engineering, 17(3), 1-15, 2017.
  • [55] Tricart C. Virtual Reality Filmmaking. London, England, Routledge, 2018.
  • [56] VR haptic feedback glove. “Feedback glove”. https://www.haptx.com (11.04.2025).
  • [57] Liu LM, Li W, Dai J. “Haptic Technology and its Application in Education and Learning”. 10th International Conference on Ubi-media Computing and Workshops (Ubi-Media), Pattaya, Thailand, 1-4 August 2017.
  • [58] Wang D, Guo Y, Liu S, Zhang Y, Xu W, Xiao J. “Haptic Display for Virtual Reality: Progress and Challenges”. Virtual Reality & Intelligent Hardware, 1(2), 136-162, 2019.
  • [59] Simulators. “VR smell simulators”. https://www.kickstarter.com/projects/feelreal/feelreal (11.04.2025).
  • [60] Kerruish E. “Arranging Sensations: Smell and Taste in Augmented and Virtual Reality”. The Senses and Society, 14(1), 31-45, 2019.
  • [61] Nakamoto T, Hirasawa T, Hanyu Y. “Virtual Environment with Smell Using Wearable Olfactory Display and Computational Fluid Dynamics Simulation”. IEEE Conference on Virtual Reality and 3D User Interfaces (VR), Atlanta, USA, 22-26 March 2020.
  • [62] Greengard S. Virtual Reality. Massachusetts, USA, MIT Press, 2019.
  • [63] Taste Simulators. “VR Taste Simulators”. https://www.newscientist.com/article/2111371-face-electrodes-let-you-taste-and-chew-in-virtual-reality (11.04.2025).
  • [64] Ranasinghe N, Nguyen TNT, Liangkun Y, Lin LY, Tolley D, Do EYL. “Vocktail: A Virtual Cocktail for Pairing Digital Taste, Smell, and Color Sensations”. Proceedings of the 25th ACM International Conference on Multimedia, Mountain View, CA, USA, 23-27 October 2017.
  • [65] Virtuix Devices. “VR Experience”. https://virtuix.com (11.04.2025).
  • [66] Gödde M, Gabler F, Siegmund D, Braun A. Cinematic Narration in VR – Rethinking Film Conventions for 360 Degrees. Editors: Chen J, Fragomeni G. Virtual, Augmented and Mixed Reality: Applications in Health, Cultural Heritage, and Industry, 184-201, Cham, Switzerland, Springer Cham, 2018.
  • [67] Arcagni S, D’Aloia A. “VR Storytelling: Potentials and Limitations of Virtual Reality Narratives”. Cinergie– Il Cinema E Le Altre Arti, 10(19), 1-7, 2021.
  • [68] Bucher J. Storytelling for Virtual Reality Methods and Principles for Crafting Immersive Narratives, New York, ABD, Routledge, 2018.
  • [69] Pillai JS, Verma M. “Grammar of VR Storytelling: Analysis of Perceptual Cues in VR Cinema”. European Conference on Visual Media Production, London, UK, 17-18 December 2019.

A new form of cinema with virtual reality technology: VR film

Yıl 2025, Cilt: 5 Sayı: 2, 154 - 169, 28.07.2025

Kenan Subaşi , Alev Parsa , Elçin As

https://doi.org/10.56723/dyad.1677487

Öz

Cinema has continued its quest to construct its own aesthetic and narrative forms since the first film screening in Paris in the late 19th century. At the center of this quest are the possibilities offered by the technological developments of the period. Cinema's tendency to explore and experience technological innovations has led to formal and narrative transformations over time, resulting in its evolution into different genres and subcategories. Although some film theorists have argued that this technological orientation threatens the essence of cinema as a young art form, today it is seen that the relationship between cinema and technology has reached a point of no return. Since the first film screenings, the cinematic experience has been based on the viewer witnessing images created by sequential movements in a rectangular frame on a two-dimensional plane from a fixed position. However, since the beginning of the 21st century, rapidly developing information technologies, digitalization processes and especially interactive systems specific to the gaming industry have led to radical transformations in the production, distribution and screening practices of visual arts; thus, bringing out a new form to the cinema narrative: VR Film. Positioned at the intersection of cinema and contemporary technologies, VR film goes beyond traditional viewing practices and involves the viewer in a real-time spatial experience in a three-dimensional virtual space through wearable technologies. To consider VR cinema only as a technical innovation or instrumental development would be to ignore the epistemological and aesthetic possibilities offered by this narrative form. In this framework, following the technological evolutionary line from the dark box to the invention of the cinematograph, from sound and color technologies to digital cinema, conceptualizing the interactional relationship between cinema and technology is of decisive importance in order to develop a theoretical perspective on the future of VR cinema.

Anahtar Kelimeler

VR film virtual reality cinema experiential film immersive video VR narrative

Kaynakça

  • [1] Manley B. Moving Pictures: The History of Early Cinema. ProQuest Discovery Guides, 1-15, 2011.
  • [2] Nowell-Smith G. The Oxford History of World Cinema. 1st edition. Oxford, UK, Oxford University Press, 1996.
  • [3] Cevher E. The Effects of DSLR Cameras on Filmmaking and Style. MSc Thesis, Mersin University Institute of Social Sciences, Mersin, Türkiye, 2017.
  • [4] Abisel N. Silent Cinema. 2nd edition. İstanbul, Türkiye, Om Yayınevi, 2003.
  • [5] Mannoni L. The Great Art of Light and Shadow: Archaeology of the Cinema. 1st edition. Exeter, UK, University of Exeter Press, 2000.
  • [6] Huhtamo E. From Cybernation to Interaction: A Contribution to an Archaeology of Interactivity. Editor: Lunenfeld P. The Digital Dialectic: New Essays on New Media, 96-110, Massachusetts, USA, MIT Press,1999.
  • [7] Onaran AŞ. History of Silent Cinema. 1st edition. Ankara, Türkiye, Kitle Yayınları, 1994.
  • [8] Thompson K, Bordwell D. Film History: An Introduction. 2nd edition. New York, USA, McGraw-Hill, 2002.
  • [9] Acar A. History of Silent Cinema. Istanbul, Türkiye, Doruk Yayımcılık, 2017.
  • [10] Lipton L. The Cinema in Flux: The Evolution of Motion Picture Technology from the Magic Lantern to the Digital Era. 1st edition. New York, USA, Springer, 2021.
  • [11] Abel R, Altman RR. The Sounds of Early Cinema. Indiana, USA, Indiana University Press, 2001.
  • [12] Buyan B. Hugo Münsterberg. Editor: Özarslan Z. Theories of Cinema-1. 9-33, Istanbul, Türkiye, Su Yayınları, 2015.
  • [13] Erdikmen A. Rudolf Julius Arnheim. Editor: Özarslan Z. Theories of Cinema-1. 35-49, Istanbul, Türkiye, Su Yayınları, 2015.
  • [14] Monaco J. How to Read a Movie? Istanbul, Türkiye, Oğlak Yayıncılık ve Reklamcılık, 2001.
  • [15] Hébert LP. Le View-Master. Maryland, USA, Johns Hopkins University Press, 2019.
  • [16] Özdal I. “The Origins of the Panoramic Photography and The Examples of Turkey”. Journal of Art and Design, 1(1), 104-116, 2008.
  • [17] Jacobs C. Interactive Panoramas: Techniques for Digital Panoramic Photography. 1st edition. New York, USA, Springer, 2004.
  • [18] Mandal S. “Brief Introduction of Virtual Reality and Its Challenges”. International Journal of Scientific and Engineering Research, 4(4), 304-309, 2013.
  • [19] Martirosov S, Kopecek P. Virtual Reality and its Influence on Training and Education. Editor: Katalinič B. Proceedings of the 28th International DAAAM Symposium, Wien, Avusturya, Daaam International, 2017.
  • [20] Jones S, Dawkins S. The Sensorama Revisited: Evaluating the Application of Multi-sensory Input on the Sense of Presence in 360-Degree Immersive Film in Virtual Reality. Editors: Jung T, tom Dieck MC. Augmented Reality and Virtual Reality, 183-197, Springer, 2018.
  • [21] Zheng JM, Chan KW, Gibson I. “Virtual Reality”. IEEE Potentials, 17(2), 20-23, 1998.
  • [22] Wake N, Rosenkrantz AB, Huang WC, Wysock JS, Taneja SS, Sodickson DK, et al. “A Workflow to Generate Patient-Specific Three-Dimensional Augmented Reality Models from Medical Imaging Data and Example Applications in Urologic Oncology”. 3D Printing in Medicine, 7(1), 34-46, 2021.
  • [23] Dodsworth Jr C. Digital Illusion: Entertaining the Future with High Technology. 1st edition. New York, USA, ACM press, 1997.
  • [24] Żmigrodzka M. “Development of Virtual Reality Technology in The Aspect of Educational Applications”. Marketing of Scientific and Research Organizations, 24(4), 117-134, 2017.
  • [25] Bow J, White E, Boopalan A. Looking for the Ultimate Display. Editors: Gackenbach J, Bown J. Boundaries of Self and Reality Online, 239-259, Canada, Elsevier, 2017.
  • [26] Billinghurst M. “Grand Challenges for Augmented Reality”. Frontiers in Virtual Reality, 2, 2021.
  • [27] Steinicke F. The Science and Fiction of the Ultimate Display. Editor: Steinicke F. Being Really Virtual Immersive Natives and the Future of Virtual Reality. 19-32, Springer, 2016.
  • [28] Krueger MW, Gionfriddo T, Hinrichsen K. “Videoplace an Artificial Reality”. Proceedings of the SIGCHI Conference on Human Factors in Computing Systems-CHI, San Francisco, USA, 14-18 April 1985.
  • [29] Fisher SS, Wenzel EM, Coler C, McGreevy MW. “Virtual Interface Environment Workstations”. Proceedings of the Human Factors Society Annual Meeting, 32(2), 91-95, 1988.
  • [30] Murray JH. Inventing the Medium: Principles of Interaction Design as a Cultural Practice. 1st edition. Massachusetts, USA, MIT Press, 2011.
  • [31] Meta. “Meta Quest 3”. https://www.meta.com/quest/quest-3 (11.04.2025).
  • [32] Apple. “Apple Vision Pro”. https://www.apple.com/apple-vision-pro (11.04.2025).
  • [33] Samsung. “Samsung Gear”. https://www.samsung.com/tr/support/model/SM-R322NZWATUR (11.04.2025).
  • [34] Wohlgenannt I, Simons A, Stieglitz S. “Virtual Reality”. Bus Inf Syst Eng, 62, 455-461, 2020.
  • [35] Gigante MA. Virtual Reality: Definitions, History and Applications. Editors: Earnshaw RA, Gigante MA, Jones H. Virtual Reality Systems, 3-14, California, USA, Academic Press, 1993.
  • [36] Mazuryk T, Gervautz M. “History, Applications, Technology and Future”. Virtual Reality, 72(4), 486-497, 1996.
  • [37] Walsh K. “Virtual Reality for Learning: Some Design Propositions”. Americas Conference on Information Systems AMCIS 2001 Proceedings, Toronto, Canada, 2001.
  • [38] Blach R. Virtual Reality Technology-An Overview. Editors: Talaba D, Amditis A. Product Engineering, 21-64, Netherlands, Springer, 2008.
  • [39] Walsh KR, Pawlowski SD. “Virtual Reality: A Technology in Need of IS Research”. Communications of the Association for Information Systems, 8(1), 297-313, 2002.
  • [40] Subaşı K, Parsa AF. New Challenges and New Opportunities Through Interactive Cinema in New Media Case Study: 360 Degree Film. Editor: Türten B. Cinema Studies, 1-19, Florida, USA, USF M3 Publishing, 2022.
  • [41] Berryman DR “Augmented Reality: A Review”. Medical Reference Services Quarterly, 31(2), 212-218, 2012.
  • [42] Carmigniani J, Furht B, Anisetti M, Ceravolo P, Damiani E, Ivkovic M. “Augmented Reality Technologies, Systems and Applications”. Multimedia Tools and Applications, 51(1), 341-377, 2011.
  • [43] İpek AR “Mixed Reality Problems”. RumeliDE Journal of Language and Literature Studies, S13, 755-770, 2023.
  • [44] Pan Z, Cheok AD, Yang H, Zhu J, Shi J. “Virtual Reality and Mixed Reality for Virtual Learning Environments”. Computers and Graphics, 30(1), 20-28, 2006.
  • [45] Cheng R, Wu N, Chen S, Han B. “Will Metaverse Be NextG Internet? Vision, Hype, and Reality”. IEEE Network, 36(5), 197-204, 2022.
  • [46] Vasarainen M, Paavola S, Vetoshkina L. “A Systematic Literature Review on Extended Reality: Virtual, Augmented and Mixed Reality in Working Life”. International Journal of Virtual Reality, 21(2), 1-28, 2021.
  • [47] Batu M, Kocaömer C. “What is the Metaverse? A New Definition Proposal in the Context of the Literature Background”. Selcuk University Journal of Institute of Social Sciences, 51, 92-112, 2023.
  • [48] Ant M, Jorge CAF, Couto PM. “Using a Game Engine for VR Simulations in Evacuation Planning”. IEEE Computer Graphics and Applications, 28(3), 6-12, 2008.
  • [49] Vohera C, Chheda H, Chouhan D, Desai A, Jain V. “Game Engine Architecture and Comparative Study of Different Game Engines”. 12th International Conference on Computing Communication and Networking Technologies, Kharagpur, India, 6-8 July 2021.
  • [50] Game Engines “Game Engine Logos”, https://www.vanas.ca/images/blog/best-video-game-engines-vanas.jpg (11.04.2025).
  • [51] Lewis M, Jacobson J. “Game Engines in Scientific Research”. Communications of the ACM, 45(1), 27-31, 2002.
  • [52] Vargün Ö. “Transformation of Technology and Art: Digital Art”. Journal of Arts, 6(1), 49-54, 2023.
  • [53] Ugurlu H. “Technology and Art: The Purpose of Contemporary Technological Arts”. Uşak Üniversitesi Sosyal Bilimler Dergisi, 1(2), 247-262, 2008.
  • [54] Coburn JQ, Freeman I, Salmon, JL. “A Review of the Capabilities of Current Low-Cost Virtual Reality Technology and Its Potential to Enhance the Design Process”. Journal of Computing and Information Science in Engineering, 17(3), 1-15, 2017.
  • [55] Tricart C. Virtual Reality Filmmaking. London, England, Routledge, 2018.
  • [56] VR haptic feedback glove. “Feedback glove”. https://www.haptx.com (11.04.2025).
  • [57] Liu LM, Li W, Dai J. “Haptic Technology and its Application in Education and Learning”. 10th International Conference on Ubi-media Computing and Workshops (Ubi-Media), Pattaya, Thailand, 1-4 August 2017.
  • [58] Wang D, Guo Y, Liu S, Zhang Y, Xu W, Xiao J. “Haptic Display for Virtual Reality: Progress and Challenges”. Virtual Reality & Intelligent Hardware, 1(2), 136-162, 2019.
  • [59] Simulators. “VR smell simulators”. https://www.kickstarter.com/projects/feelreal/feelreal (11.04.2025).
  • [60] Kerruish E. “Arranging Sensations: Smell and Taste in Augmented and Virtual Reality”. The Senses and Society, 14(1), 31-45, 2019.
  • [61] Nakamoto T, Hirasawa T, Hanyu Y. “Virtual Environment with Smell Using Wearable Olfactory Display and Computational Fluid Dynamics Simulation”. IEEE Conference on Virtual Reality and 3D User Interfaces (VR), Atlanta, USA, 22-26 March 2020.
  • [62] Greengard S. Virtual Reality. Massachusetts, USA, MIT Press, 2019.
  • [63] Taste Simulators. “VR Taste Simulators”. https://www.newscientist.com/article/2111371-face-electrodes-let-you-taste-and-chew-in-virtual-reality (11.04.2025).
  • [64] Ranasinghe N, Nguyen TNT, Liangkun Y, Lin LY, Tolley D, Do EYL. “Vocktail: A Virtual Cocktail for Pairing Digital Taste, Smell, and Color Sensations”. Proceedings of the 25th ACM International Conference on Multimedia, Mountain View, CA, USA, 23-27 October 2017.
  • [65] Virtuix Devices. “VR Experience”. https://virtuix.com (11.04.2025).
  • [66] Gödde M, Gabler F, Siegmund D, Braun A. Cinematic Narration in VR – Rethinking Film Conventions for 360 Degrees. Editors: Chen J, Fragomeni G. Virtual, Augmented and Mixed Reality: Applications in Health, Cultural Heritage, and Industry, 184-201, Cham, Switzerland, Springer Cham, 2018.
  • [67] Arcagni S, D’Aloia A. “VR Storytelling: Potentials and Limitations of Virtual Reality Narratives”. Cinergie– Il Cinema E Le Altre Arti, 10(19), 1-7, 2021.
  • [68] Bucher J. Storytelling for Virtual Reality Methods and Principles for Crafting Immersive Narratives, New York, ABD, Routledge, 2018.
  • [69] Pillai JS, Verma M. “Grammar of VR Storytelling: Analysis of Perceptual Cues in VR Cinema”. European Conference on Visual Media Production, London, UK, 17-18 December 2019.
Toplam 69 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Film Yapım ve Yönetimi, Sinema Kuramları
Bölüm Araştırma Makaleleri
Yazarlar

Kenan Subaşi 0000-0002-7416-3617

Alev Parsa 0000-0002-5849-4950

Elçin As 0000-0001-8838-291X

Yayımlanma Tarihi 28 Temmuz 2025
Gönderilme Tarihi 16 Nisan 2025
Kabul Tarihi 29 Mayıs 2025
Yayımlandığı Sayı Yıl 2025 Cilt: 5 Sayı: 2

Kaynak Göster

APA Subaşi, K., Parsa, A., & As, E. (2025). A new form of cinema with virtual reality technology: VR film. Disiplinlerarası Yenilik Araştırmaları Dergisi, 5(2), 154-169. https://doi.org/10.56723/dyad.1677487
AMA Subaşi K, Parsa A, As E. A new form of cinema with virtual reality technology: VR film. Disiplinlerarası Yenilik Araştırmaları Dergisi. Temmuz 2025;5(2):154-169. doi:10.56723/dyad.1677487
Chicago Subaşi, Kenan, Alev Parsa, ve Elçin As. “A New Form of Cinema With Virtual Reality Technology: VR Film”. Disiplinlerarası Yenilik Araştırmaları Dergisi 5, sy. 2 (Temmuz 2025): 154-69. https://doi.org/10.56723/dyad.1677487.
EndNote Subaşi K, Parsa A, As E (01 Temmuz 2025) A new form of cinema with virtual reality technology: VR film. Disiplinlerarası Yenilik Araştırmaları Dergisi 5 2 154–169.
IEEE K. Subaşi, A. Parsa, ve E. As, “A new form of cinema with virtual reality technology: VR film”, Disiplinlerarası Yenilik Araştırmaları Dergisi, c. 5, sy. 2, ss. 154–169, 2025, doi: 10.56723/dyad.1677487.
ISNAD Subaşi, Kenan vd. “A New Form of Cinema With Virtual Reality Technology: VR Film”. Disiplinlerarası Yenilik Araştırmaları Dergisi 5/2 (Temmuz 2025), 154-169. https://doi.org/10.56723/dyad.1677487.
JAMA Subaşi K, Parsa A, As E. A new form of cinema with virtual reality technology: VR film. Disiplinlerarası Yenilik Araştırmaları Dergisi. 2025;5:154–169.
MLA Subaşi, Kenan vd. “A New Form of Cinema With Virtual Reality Technology: VR Film”. Disiplinlerarası Yenilik Araştırmaları Dergisi, c. 5, sy. 2, 2025, ss. 154-69, doi:10.56723/dyad.1677487.
Vancouver Subaşi K, Parsa A, As E. A new form of cinema with virtual reality technology: VR film. Disiplinlerarası Yenilik Araştırmaları Dergisi. 2025;5(2):154-69.
 Kapak Resmi İndir