Stuart Marshall Bender

Virtual Realities presents a ground-breaking application of phenomenology as a critical method to explore the impact of immersive media. Specific case studies examine 360-degree documentary productions about trauma, virtual military simulations, VR exposure therapy for anxiety and posttraumatic stress disorder, and the emerging debate about regulating violent content in immersive media gaming. By addressing these texts primarily as experiences, Virtual Realities deploys an analytic and critical methodology that is sensitive to the bodily and cognitive impact of immersive media, especially via the body of an appropriately attentive researcher-critic. Virtual Realities provokes a rethinking of many of the taken-for-granted ideas and assumptions circulating in the field of immersive media. These include concepts of empathy, embodiment, the affective impact of textual and immersive properties on the users’ experience, as well as the “gee-whizz” mentality often associated with approaches to the medium. The case studies provide fresh engagement with immersive media such as cinematic VR at a time when dominant attitudes about the technology display an evangelical fascination with VR and other mixed realities as inexorably beneficial. Virtual Realities makes a compelling case for VR-phenomenology to be employed as a methodology by humanities scholars and also in cross-disciplinary applications of immersive media in fields such as psychology, human-computer interaction studies and the health sciences.

Virtual Realities presents a ground-breaking application of phenomenology as a critical method to explore the impact of immersive media. Specific case studies examine 360-degree documentary productions about trauma, virtual military simulations, VR exposure therapy for anxiety and posttraumatic stress disorder, and the emerging debate about regulating violent content in immersive media gaming. By addressing these texts primarily as experiences, Virtual Realities deploys an analytic and critical methodology that is sensitive to the bodily and cognitive impact of immersive media, especially via the body of an appropriately attentive researcher-critic. Virtual Realities provokes a rethinking of many of the taken-for-granted ideas and assumptions circulating in the field of immersive media. These include concepts of empathy, embodiment, the affective impact of textual and immersive properties on the users’ experience, as well as the “gee-whizz” mentality often associated with approaches to the medium. The case studies provide fresh engagement with immersive media such as cinematic VR at a time when dominant attitudes about the technology display an evangelical fascination with VR and other mixed realities as inexorably beneficial. Virtual Realities makes a compelling case for VR-phenomenology to be employed as a methodology by humanities scholars and also in cross-disciplinary applications of immersive media in fields such as psychology, human-computer interaction studies and the health sciences.

This book undertakes a concentrated study of the impact of degraded and low-quality imagery in contemporary cinema and real-world portrayals of violence. Through a series of case studies, the book explores examples of corrupted digital imagery that range from mainstream cinema portrayals of drone warfare and infantry killing, through to real-world recordings of terrorist attacks and executions, as well as perpetrator-created murder videos live-streamed on the internet. Despite post-modernist concerns of cultural inurement during the seminal period of digitalized and virtualized killing in the 1990s, real-world reactions to violent media indicate that our culture is anything but desensitized to these media depictions. Against such a background, this book is a concentrated study of how these images are created and circulated in the contemporary media landscape and how the effect and affect of violent material is impacted by the low-resolution aesthetic.

This book undertakes a concentrated study of the impact of degraded and low-quality imagery in contemporary cinema and real-world portrayals of violence. Through a series of case studies, the book explores examples of corrupted digital imagery that range from mainstream cinema portrayals of drone warfare and infantry killing, through to real-world recordings of terrorist attacks and executions, as well as perpetrator-created murder videos live-streamed on the internet. Despite post-modernist concerns of cultural inurement during the seminal period of digitalized and virtualized killing in the 1990s, real-world reactions to violent media indicate that our culture is anything but desensitized to these media depictions. Against such a background, this book is a concentrated study of how these images are created and circulated in the contemporary media landscape and how the effect and affect of violent material is impacted by the low-resolution aesthetic.