FIJI: A Framework for the Immersion-Journalism Intersection

Debates sobre valores e indicadores del servicio audiovisual público en Europa

“…Sin embargo, el formato más empleado por los miembros de la UER es el vídeo 360º, una tendencia compartida con el resto de medios a nivel mundial (Hardee y McMahan, 2017).…”

Innovation in European public broadcasters: immersive narratives and organization of 360-degree contents on digital platforms

“…Resources used enable users to immerse in the news' story and to experience the sensation of presence on the recorded ground and virtual world (Hardee & McMahan, 2017;Baía, 2016;Doyle, Gelman & http://www.revistalatinacs.org/073paper/1299/58en.html Página 1120 Gill, 2016;Longhi, 2016). This results in the breakdown of the fourth wall (Murray, 1999;Domínguez, 2013;Longui, 2016) due to the computer screen and mobile devices, which, until the implementation of these immersive techniques in journalism, acted as a separating border between the user and the narrative world of the news' story.…”

“…The format with an increased presence in the media, due to its low cost and production time, is the 360º video (Hardee & McMahan, 2017;European Broadcasting Union, 2017a), also called cinematic VR (Domínguez, 2017) and motion sphere (Longhi, 2016;Doyle, Gelman & Gill, 2016). These products are based on "a 360-degree rotations of video" (Kool, 2016: 4) where, in consequence, the user shall enjoy the ambient or real sound and could make a rotary motion -although limited, as they are at a fixed location on the stage-, and thus look from top to bottom and from left to right.…”

“…However, some organisations do not have applications for immersive consumption, and they disseminate contents through other players that support this format, normally embedded in their main websites (European Broadcasting Union, 2017a), and digital platforms such as YouTube and Facebook (European Broadcasting Union, 2017a, 2017b). The latter two enable the reproduction of 360º videos with no problem (Robson & Costa, 2016) There are two paths when consuming these pieces: using VR glasses and through the screen of mobile devices -either through tactile interaction or using the gyroscope-, which becomes an access window to the virtual world (Hardee & McMahan, 2017).…”

“…Immersive journalism, named by the American researcher Nonny de la Peña (2010), is established with the aim of bringing the spectator closer to the news -compared with traditional formats-, a goal pursued by the media since their very beginnings (Baía, 2016;Biocca & Levy, 1995;Longhi, 2016: Hardee & McMahan, 2017.…”