, in a hyper-real city square, surrounded by lapping blue water and tourists who move in mysterious ways. There is a ginger cat here called Dorian who walks on his hind legs and speaks with a French accent. Dorian is showing us how to walk and turn and jump and crouch. He’s concerned by the tourist who can’t get herself off the ground. Dorian explains that if we ever get lost we should press the “respawn” button which will put us right back where we began.
In the early days of the moving image – before George Méliès sent his rocket to the moon and DW Griffith made Birth of a Nation – cinema was thought of as a technological gimmick, an illicit cheap thrill; the preserve of travelling fairs, vaudeville and peep shows. Probably immersive art is at that stage itself. It’s a nascent entertainment, still finding its feet. I’m beguiled by it and confused by it – and I suspect I’m not alone.
“Yeah, I don’t think we want to point at one set of work and say, ‘This is the thing’,” Reilhac says. “We embrace the opening and broadening variety. That’s why we changed the name this year from Venice Virtual Reality to Venice Immersive. Because we’re focusing on the content not the technology, the whole idea of immersive, spatial storytelling. So it’s a very fluid concept. It’s about bringing immersive media to the people and then navigating it together.
I also like Nyssa, which recounts the adventures of a flame-haired witch girl, off on a mission to retrieve her magic broom. This is a collaboration between writer-director Julie Cavaliere and producer Michaela Ternasky-Holland, the first of a series which revisits lesser-known folk tales. Cavaliere started her career in film production, shifted into acting and then hung a left turn into immersive media.
not interested. I like humans.
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Source: 7NewsAustralia - 🏆 11. / 71 Read more »