관람자 시점 이동성에 따른 VR 공포영화의 실재감 연구 : 2D영화 <곡성>과 VR영화 <부고>의 스타일 분석 중심으로

Abstract

This study began with the question of whether films are suitable as VR content as the stature of VR content is on the rise. Movie is an art form where the director's intent is strongly revealed. However, due to the sense of presence, a hallmark feature of VR allowing the audience to explore the given 360-degree space, conveying storytelling as per the director's intent becomes unfeasible. While content like VR games or exhibitions pose no issues regardless of how users engage, drama films face a conflict between the obligation of storytelling and the spatial characteristics of VR's 360-degree environment, coupled with physical limitations of the HMD (cyber sickness, the strain of long-time wear due to the weight of the HMD). Consequently, a definitive film grammar for VR drama films has yet to be established. Thus, before addressing whether movie can integrate with VR, we need to re-inquire by categorizing drama movie by style genres such as melodrama, comedy, action, SF, horror, and thriller. To rephrase, is there a genre among drama films that aligns with VR's attributes? Users of VR can display pronounced physical reactions, which can also be observed in horror genre films. If we combine the playful physical reactions induced by VR's characteristics with the physical reactions caused by horror emotions, we can hypothesize that the horror genre could be compatible with VR movies. Therefore, the primary objective of this study is to analyze how the direction style of VR horror movie for the sake of presence differs from 2D movie. For case analysis, the direction styles of the 2D movie <The Wailing> and the VR movie <Obituary> were analyzed. Additionally, this study intends to utilize recorded viewer perspective footage of <Obituary> seen through the HMD, rather than the camera's viewpoint. Through such an analysis, we were able to ascertain results in the following four aspects, First, the dazzling camera movements created by the viewer due to the oppressiveness of the VR camera, second, the distinctiveness of montage due to the breaking of shot grammar, third, psychological close-ups provided by the variability of shots and fourth, well-structured spaces in VR movie can inherently form storytelling. Such analytical findings can be presented as a new direction grammar specifically for VR horror movie.