Vestnik VGIK I Journal of Film Arts and Film StudiesVestnik VGIK I Journal of Film Arts and Film Studies2074-08322713-2471Eco-vector1774410.17816/VGIK11342-52Research ArticleThe evolution of visual instruments of VR cinemaMatkinAleksei V.<p>Post-Graduate Student, Department of Film Studies</p>vestnik-vgik@vgik.infoAll-Russian State Institute of Cinematography named after S.A. Gerasimova1311201911342521311201913112019Copyright © 2019, Matkin A.V.2019<p>The author states the achievement by virtual reality technology of a certain stage of maturity. Virtual reality equipment as a means of film exhibition not only determines our aesthetic experience but fundamentally changes film language the duration of a film and particular takes, their composition, the specifics of inter-shot and intra-shot editing, etc. The essay explores the visual system of VR cinema, a phenomenon which is gaining more and more spectator popularity.</p>
<p>Defining the depth of immersiveness as the fundamental difference between traditional and VR cinema, the author identifies aspects characteristic of the latter aspects determining its creative method. Among them is limited length (the duration of a typical VR film rarely exceeds 1520 minutes), a 360-degree view, the representation of spherical space (for example, the viewer does not see anything more than shown to him in the film), and interactivity, which manifests itself in the spectator's freedom of to choose the area of focus and borrows elements of gaming practices.</p>
<p>The essay analyzes typical mise en scnes and highlights the basic ones. The most important aim of mise en scne along the first person axis is to give the viewer an opportunity to feel in a different way, to look at the world with other people's eyes. In passive mise en scne along the third person radius, where the axis of movement is absent, the semantic center of is expressed not so clearly. This type implies the viewer's aspiration to study the surrounding space. The third type is active mise en scne along the third person radius, which corresponds to the look of an active full participant in the shown events instead of the look of an abstract observer from the inside. The essay describes the mechanism of synthesis of mise en scnes with the aim of obtaining a new artistic quality.</p>
<p>The author emphasizes such aspects of the artistic uniqueness of VR cinema as expressive minimalism, minimization of the value of editing, and new attitudes towards camera work. In conclusion, he describes the current state of VR cinema and looks at the basic principles of the development of its artistic uniqueness.</p>virtual realityVR filmsimmersive video360 degreesmise en scenesвиртуальная реальностьVR-кинематограф360 градусовмизансцена[Belov E. Virtualnaya realnost: puti razvitiya i ganri [Virtual reality: paths and genres]. URL: https://tvkinoradio.ru/article/article9512-virtualnaya-realnost-puti-razvitiya-i-zhanri (retrieved: 09.09.2018)][Bobylev I. (2018) Volshebnie Ochki [Magic specs]. Iskusstvo kino, no. 1–2, 2018, pp. 260–269.][Braslavskiy P. I. (2003) Technologiya virtualnoy realnosti kak fenomen kulturi konca XX — nachala XXI vekov [Virtual reality technology as a cultural phenomenon of the late XX — early XXI centuries]: dis. … kand. Kulturologii. Ural. Gos. Universitet, Ekaterinburg, 2003. 163 p.][Mankovskaya N.B. (2006) Fenomen postmodernizma. Hudojestvenno-esteticheskiy rakurs [The phenomenon of postmodernism. Artistic and aesthetic perspective]. Moscow; St. Petersburg.: Centr gumanitarnih iniciativ, 2006. 468 p.][Utkin A. (2018) V otsutstvie hudojnika. Genealogia VR [In the absence of an artist]. Iskusstvo kino, no. 1–2, 2018, pp. 272–278.]