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The term audionarratology was coined by Jarmila Mildorf and Till Kinzel in 2014, as a reaction to Lawrence Kramer who had argued a few decades earlier that music could not act as a narrative on its own. They took an opposite stand by offering theoretical considerations as well as methodological challenges with emphasis on narrative experientiality, audioception, situatedness, auricularisation, and focalization in sound. While they covered spoken language, radio plays, sound installations, music, video games, and t...

What used to be a rare and eccentric narrative technique in the Golden Age of Hollywood, where a protagonist would address the viewer or implicit audience directly, is now deployed more frequently in Cinematic VR. This paper aims to investigate whether such an inherent capacity of В‘you' to target a narratee, as it accommodates a variety of you's and a variety of I's, and the combination of both to blur the boundary between the discourse of virtual reality and the story, makes the second-person narration a natural...

The fundamental raison d'être in the production of immersive technologies is the attainment of an absolute psychosomatic and physical embodiment, which Chris Milk, the founder of WITHIN application and a touted master per excellence in 360° video production, provides through his global digital platform where a sense “as if being there” is played out by many world’s VR creators. The hitch, however, for films shot in 360° space, is that their current narrative system as well as their visual configuration opp...