ABSTRACT The proliferation of VR travel documentaries in the new era of head-mounted-displays connects to desires for temporal and spatial mobility that have previously been realized in photography, stereoscopy and cinema. Continuing trends begun in Heidegger’s ‘Age of the World Picture,’ these documentaries promise to fulfil utopian aspirations to conceive and grasp the world as a picture with an emphasis on exotic views and pleasurable spectacle. They also attempt to realize André Bazin’s prophecies regarding the emergence of a Total Cinema which would allow viewers to move beyond this ocular emphasis and into a fully immersive, multisensorial engagement with representation. In this context, VR offers the possibility of creating virtual experiences that the tourist-viewer accepts as substitute for physical visitation to inaccessible sites. At the same time, VR has also been used as a marketing tool to promote traditional tourism to certain destinations. In each case, VR experiences operates as both replacement for the viewer’s embodied reality and augmentation of the reality that they engage with. This article examines how VR has been employed in travel documentaries with emphasis on the way they exploit the novelty of VR to offer new iterations of the tourist gaze in expansive visual technologies.

中文翻译：

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游览“世界图片”：虚拟现实和游客凝视

摘要在新的头戴式显示器时代中，VR旅行记录片的激增与以前在摄影，立体镜和电影院中实现的对时间和空间移动性的渴望联系在一起。这些纪录片从海德格尔的“世界年龄时代”开始持续发展，这些纪录片承诺实现乌托邦式的抱负，以构想和把握世界为一幅画，强调异国情调和愉悦的景象。他们还试图实现安德烈·巴赞（AndréBazin）关于“全面电影院”（Total Cinema）出现的预言，这将使观众超越视觉上的关注，进入具有表现力的完全身临其境的，多感官的参与。在这种情况下，VR提供了创建虚拟体验的可能性，游客可以接受这种虚拟体验来代替对无法访问的站点的物理访问。同时，VR还被用作营销工具，以将传统旅游业推广到某些目的地。在每种情况下，VR体验既可以代替观看者的具体现实，又可以增强他们参与的现实。本文研究了VR如何在旅行纪录片中应用，重点介绍了VR如何利用VR的新颖性在广阔的视觉技术中提供新的游客目光。