A uniquely interdisciplinary look at storytelling in digital, analogue, and hybridised contexts, this book traces different ways stories are experienced in our contemporary mediascape. It uses an engaging range of current examples to explore interactive and immersive narratives. Critical Encounters with Immersive Storytelling considers exciting new forms of storytelling that are emerging in contemporary popular culture. Here, immersion is being facilitated in a variety of ways and in a multitude of contexts, from 3D cinema to street games, from immersive theatre plays to built environments such as theme parks, as well as in a multitude of digital formats. The book explores diverse modes and practices of immersive storytelling, discussing what is gained and lost in each of these ‘genres’. Building on notions of experience and immersion, it suggests a framework within which we might begin to understand the quality of being immersed. It also explores the practical and ethical aspects of this exciting and evolving terrain. This accessible and lively study will be of great interest to students and researchers of media studies, digital culture, games studies, extended reality, experience design, and storytelling.

In response to systemic racism and institutions’ implications in histories of colonialism, nationalism, and exclusion, museum curators have embraced new ways of storytelling to face entangled memories and histories. Critical museum practices have consciously sought to unsettle established forms of representation, break with linear narratives of progress, and experiment with new modes of multivocal, multimedia, and subjective storytelling. The volume features analyses of narratives and narration in museums and heritage institutions today, as well as visions for future museum practices on a local, regional, national, transnational, and global scale. It is divided into three sections: Narrative Theory and Temporality, Ruptures and Repair, and Difficult Memories and Histories. Essays from a variety of disciplines in the humanities and social sciences examine museum practices in history, memorial, anthropological, and art museums across six continents. They develop narratological categories, reflect on immersive and virtual narratives, challenge colonial violence and hegemonic forms of representation, query the performance of heritage, parse exhibition design, and unearth techniques to express narratives of social justice.

Stories have always been part of tourism with tourists eager to both share and listen to stories about destinations. Destinations also build identity and distinctiveness by sharing stories with visitors. It is essential to gain a deeper understanding of the role that stories play in marketing and branding destinations, as well as how storytelling through digital mobile technologies can aid in these practices. Global Perspectives on Strategic Storytelling in Destination Marketing is a key reference that offers theoretical frameworks and empirical approaches to the study of storytelling in tourism at the organizational and destination levels, and from the perspectives of experience providers and customers. It further addresses current and future challenges of tourism organizations and destinations that may be tackled by creatively adopting storytelling as a strategy for brand differentiation and customer involvement. Covering topics such as film-induced tourism, heritage tourism, and community engagement, this premier reference source is an excellent resource for marketers, advertising executives, brand managers, travel agencies, tour operators, event and program managers, business executives, government officials, community leaders, students, researchers, academicians, professionals, and practitioners in the tourism and hospitality industry.

With reference to traditional film theory and frameworks drawn from fields such as screenwriting studies and anthropology, this book explores the challenges and opportunities for both practitioners and viewers offered by the 360-degree storytelling form. It focuses on cinematic virtual reality (CVR), a format that involves immersive, high quality, live action or computer-generated imagery (CGI) that can be viewed through head mounted display (HMD) goggles or via online platforms such as YouTube. This format has surged in popularity in recent years due to the release of affordable high quality omnidirectional (360-degree) cameras and consumer grade HMDs. The book interrogates four key concepts for this emerging medium: immersion, presence, embodiment and proximity through an analysis of innovative case studies and with reference to practitioner interviews. In doing so, it highlights the specificity of the format and provides a critical account of practitioner approaches to the concept development, writing and realisation of short narrative CVR works. The book concludes with an account of the author’s practice-led research into the form, providing a valuable example of creative practice in the field of immersive media.

This book argues that no ethically appropriate relation to other human beings is possible unless we treat them as genuinely other. The authors provide reasons to be critical of various attempts, many of them popular in our contemporary (Western) culture, to encourage deeper attachment to and immersion into others’ lives and experiences. They defend the significance of the distance between human beings, criticizing exaggerated uses of, e.g., the concept of empathy and related concepts in academic as well as more popular ethical contexts, across a range of issues from the nature of ethical duty to the philosophy of love. The chapters offer non-technical philosophical and cultural criticism through selected perspectives on the continuum between closeness and distance, exploring various aspects of ethically significant relations between human beings. This book thus appeals to a wide audience, especially researchers and students in different fields of the humanities, including philosophy, literary studies, and cultural studies, by combining philosophical and literary methodologies in a humanistic examination of the value of distance. The book also argues that we have to be able to abstract from the concrete other in ethical relations, living in the normative and rational sphere of duty instead of emotional immersion.

We are witnessing a revolution in storytelling. Publications all over the world are increasingly using immersive storytelling—virtual reality, augmented reality and mixed reality—to tell compelling stories. The aim of this book is to distill the lessons learned thus far into a useful guide for reporters, filmmakers and writers interested in telling stories in this emerging medium. Examining ground-breaking work across industries, this text explains, in practical terms, how storytellers can create their own powerful immersive experiences as new media and platforms emerge.

How can emerging technologies display, reveal and negotiate difficult, dissonant, negative or undesirable heritage? Emerging technologies in museums have the potential to reveal unheard or silenced stories, challenge preconceptions, encourage emotional responses, introduce the unexpected, and overall provide alternative experiences. By examining varied theoretical approaches and case studies, authors demonstrate how “awkward”, contested, and rarely discussed subjects and stories are treated – or can be potentially treated - in a museum setting with the use of the latest technology.

This edited book brings together best examples and practices of digital and interactive approaches and platforms from a number of projects based in European countries to foster social inclusion and participation in heritage and culture. It engages with ongoing debates on the role of culture and heritage in contemporary society relating to inclusion and exclusion, openness, access, and bottom-up participation. The contributions address key themes such as the engagement of marginalised communities, the opening of debates and new interpretations around socially and historically contested heritages, and the way in which digital technologies may foster more inclusive cultural heritage practices. They will also showcase examples of work that can inspire reflection, further research, and also practice for readers such as practice-focused researchers in both HCI and design. Indeed, as well as consolidating the achievements of researchers, the contributions also represent concrete approaches to digital heritage innovation for social inclusion purposes. The book’s primary audience is academics, researchers, and students in the fields of cultural heritage, digital heritage, human-computer interaction, digital humanities, and digital media, as well as practitioners in the cultural sector.

Curating Art provides insight into some of the most socially and politically impactful curating of historical and contemporary art since the late 1990s. It offers up a museological framework for understanding watershed developments of curating in art museums. Representing the plurality of theory and practice around the expanded field of relational curating, the book focuses on curating that prioritises the quality of relationships between people and objects, between institutions and people and among people. It has wide international breadth, with particularly strong representation in East and Southeast Asia, including four papers never before translated into English. This Asian cluster illuminates the globalisation of the field and challenges dichotomies of East and West while acknowledging distinctions within specific, but often transnational, cultural spheres. The compelling philosophical perspectives and case studies included within Curating Art will be of interest to students and researchers studying curating, exhibition development and art museums. The book will also inspire current and emerging curators to pose challenging but important questions about their own practice and the relationships that this work sustains.

Climate Change Temporalities explores how various timescales, timespans, intervals, rhythms, cycles, and changes in acceleration are at play in climate change discourses. It argues that nuanced, detailed, and specific understandings and concepts are required to handle the challenges of a climatically changed world, politically and socially as well as scientifically. Rather than reflecting abstractly on theories of temporality, this edited collection explores a variety of timescales and temporalities from narratives, experience, popular culture, and everyday life in addition to science and history - and the entanglements between them. The chapters are clustered into three main sections, exploring a range of genres, such as questionnaires, interviews, magazines, news media, television series, aquariums, and popular science books to critically examine how and where climate change understandings are formed. The book also includes chapters historising notions of climate and temporality by exploring scientific debates and practices. Climate Change Temporalities will be of great interest to students and scholars of humanistic climate change research, environmental humanities, studies of temporality and historicity, cultural studies, cultural history, and popular culture.