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dc.contributor.authorSunderland, Paul William
dc.date.accessioned2019-09-10
dc.date.available2019-09-10
dc.date.issued2019-02-28
dc.identifier.urihttp://hdl.handle.net/2123/21052
dc.description.abstractThis thesis develops a phenomenology of immersive cinematic spectatorship. During an immersive experience in the cinema, the images, sounds, events, emotions, and characters that form a fictional diegesis become so compelling that our conscious experience of the real world is displaced by a virtual world. Theorists and audiences have long recognized cinema’s ability to momentarily substitute for the lived experience of reality, but it remains an under-theorized aspect of cinematic spectatorship. The first aim of this thesis is therefore to examine these immersive responses to cinema from three perspectives – the formal, the technological, and the neuroscientific – to describe the exact mechanisms through which a spectator’s immersion in a cinematic world is achieved. A second aim is to examine the historical development of the technologies of visual simulation that are used to create these immersive diegetic worlds. My analysis shows a consistent increase in the vividness and transparency of simulative technologies, two factors that are crucial determinants in a spectator’s immersion. In contrast to the cultural anxiety that often surrounds immersive responses to simulative technologies, I examine immersive spectatorship as an aesthetic phenomenon that is central to our engagement with cinema. The ubiquity of narrative – written, verbal, cinematic – shows that the ability to achieve immersion is a fundamental property of the human mind found in cultures diverse in both time and place. This thesis is thus an attempt to illuminate this unique human ability and examine the technologies that allow it to flourish.en_AU
dc.rightsThe author retains copyright of this thesis. It may only be used for the purposes of research and study. It must not be used for any other purposes and may not be transmitted or shared with others without prior permission.en_AU
dc.subjectCinemaen_AU
dc.subjectImmersionen_AU
dc.subjectVirtualen_AU
dc.subjectAestheticsen_AU
dc.subjectSimulationen_AU
dc.subjectVisualen_AU
dc.titleThe Virtual Worlds of Cinema Visual Effects, Simulation, and the Aesthetics of Cinematic Immersionen_AU
dc.typeThesisen_AU
dc.type.thesisDoctor of Philosophyen_AU
usyd.facultyFaculty of Arts and Social Sciences, School of Literature, Art and Mediaen_AU
usyd.departmentDepartment of Art Historyen_AU
usyd.degreeDoctor of Philosophy Ph.D.en_AU
usyd.awardinginstThe University of Sydneyen_AU


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