Drawing from work produced and exhibited in September 2010 for the 360 Festival organized by ICCI (Innovation for the Creative and Cultural Industries) University of Plymouth, UK, we will consider the use of the mobile panoramic cinema for the exhibition of a variety of presentational and interactive image formats. In particular we will consider moving image in the 360 format and the rather ironic inversion of expectations as the form, which presents image all around the viewer and even offers a sense of immersions within the visual field, affects possibilities of the experiential space. At various times through the evolution of filmmaking producers have sought to take the viewer to the site of the experiences–from the startling use of ‘close-up’ in early silent film (Munsterberg and Langdale 2001) through early 3D visuals and on with the quest for ‘realism’ of cinema verite and a general whole hearted absorption of each new form of technology that offers the tantalizing prospect of the ‘visual real’. The 360 dome cinema seems to offer such a prospect to filmmakers; the opportunity to place the viewer in the centre of the action. In this paper we will discuss the challenges of conceiving and producing for the 360 dome screen and explore some of the functioning of examples of work made for and screened in the 360 Festival in Plymouth September 2010.
|Keywords:||360 Degree Film Exhibition, 360 Degree Film Production|
Associate Professor, Subject Leader Media Arts, School of Art and Media, Faculty of Arts, University of Plymouth, Plymouth, Devon, UK
Associate Professor, Director ICCI Innovation for the Creative and Cultural Industries, University of Plymouth, Plymouth, Devon, UK