Immersive cinematic experiences are not so new; filmgoers wearing stereoscopic glasses are an iconic image of 1950s cinema. The early 1980s saw an immersive renaissance with films such as Jaws 3-D (Joe Alves, 1983), followed by the IMAX cinema boom in the 2000s, and a further revival with the blockbuster Avatar (James Cameron, 2009). It has nevertheless been claimed that we are on the verge of entering an era of true immersion in virtual experiences, and that engaged interaction with virtual reality, holograms and volumetric worlds are on the horizon. It is only a few years since virtual reality came to be accepted onto film festival programmes – now it is everywhere. Sundance and Cannes festivals, for example, have presented immersive films as standalone experiences in purpose-built auditoriums and exhibitions, most notably with Alejandro G. Iñárritu’s immersive experience Carne y Arena (Virtually Present, Physically Invisible) in 2017.

中文翻译：

---

亚历杭德罗·G·伊纳里图（Alejandro G.

身临其境的电影体验并不是什么新鲜事物。戴着立体眼镜的观众是1950年代电影院的标志性图像。1980年代初期，电影《大白鲨》（Jaws 3-D）引起了沉浸式的复兴（乔·阿尔维斯（Joe Alves，1983）），随后在2000年代IMAX电影热潮中又掀起了一股复兴，而大片《阿凡达》则进一步复兴（詹姆斯·卡梅隆（James Cameron），2009年）。然而，据称我们正处于进入虚拟体验真正沉浸时代的边缘，与虚拟现实，全息图和体积世界的互动互动即将到来。虚拟现实被电影节节目所接受只是短短的几年-现在它无处不在。圣丹斯电影节和戛纳电影节的节日，例如，已经提出了身临其境的电影作为独立的经验，专门建造的礼堂和展览，最引人注目的是亚历杭德罗·伊纳里多G.的身临其境的体验卡恩Ÿ竞技场 （虚拟存在，物理无形）在2017年。