The use of virtual reality (VR) has expanded in various subgenres of cinema, including documentary films, during the past decade. There are two key tropes that have driven many practitioners to venture into VR nonfiction artifacts: the first is immersion, through which participants feel as if submerged into the image space surrounding them; and the second is sense of presence (SoP), which refers to “the perception of [one’s] surroundings as mediated by both automatic and controlled mental processes” (Steuer, 1992, p. 75). These have also been deemed as two experiences of reality and history that VR documentaries excel in offering in comparison to the standardised cinematic apparatus based on the viewer’s stationary frontal position, the frame and the two dimensionalities of the image, and the distance between the viewer and the screen. Chris Milk, an interactive media artist who has played a pivotal role in expanding VR into a new canvas for storytelling, mentioned in his TED talk that “VR feels like truth – you feel present in the world [emphasis added] you are inside and present with the people you are inside of it with”, while also establishing it as the “ultimate empathy machine” (2015). Nonny de la Peña et al. have introduced the concept of “immersive journalism” as producing a news form in which people can gain a first-person experience of the event or situation described in the news stories, allowing “the participant… to actually enter a virtually recreated scenario representing the news story [emphasis added]” (2010, p. 291).

中文翻译：

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虚拟现实纪录片中的合成视觉

在过去的十年中，虚拟现实 (VR) 的使用在电影的各种子类型中得到了扩展，包括纪录片。有两个关键的比喻促使许多从业者冒险进入 VR 非虚构作品：第一个是沉浸感，通过它参与者感觉好像淹没在他们周围的图像空间中；第二个是存在感（SoP），它指的是“由自动和受控心理过程介导的对[某人]周围环境的感知”（Steuer，1992，p.75）。这也被认为是与基于观众固定的正面位置、画面和图像的二维以及观众和观众之间的距离的标准化电影装置相比，VR 纪录片擅长提供的两种现实和历史体验。屏幕。克里斯·米尔克感觉在世界上[强调]你在里面并与你在里面的人在一起”，同时还将其确立为“终极移情机器”（2015）。Nonny de la Peña 等。引入了“沉浸式新闻”的概念，即产生一种新闻形式，在这种形式中，人们可以获得对新闻报道中描述的事件或情况的第一人称体验，让“参与者……实际上进入一个代表新闻的虚拟再现场景故事[强调] ”（2010 年，第 291 页）。