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The iAnimal Film Series

Activating Empathy Through Virtual Reality

Holly Cecil

Virtual reality (VR) technology often is associated with videogaming and cinema as a digital medium rendering synthetic worlds more believable. In this article, however, I explore its employment in nonfiction formats as an immersive tool to expose

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(Re)imagining Immigration Narratives and Surveillance Practices by Experiencing "Use of Force"

Kellie Marin

This article introduces the concept of “pseudo-sousveillance” as simulated sousveillance practices created by the sensory environments of immersive technologies. To advance this concept, I analyze the virtual reality (VR) experience “Use of Force” that immerses participants within the scene of the night during which immigrant Anastasio Hernandez Rojas was beaten by border patrol officers at the San Ysidro Port of Entry. I argue that the pseudo-sousveillance practices of cellphone recording and surveillance from above enlist users to be active participants in resisting dominant surveillance practices by constructing alternative narratives about immigrant experiences, exposing the overreach of the border patrol, and revealing the limits of surveillance in immigration control. I then discuss the implications that pseudo-sousveillance has for rethinking the rhetorical power of emerging technologies and sousveillance in a surveillant age.

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Jane Stadler

screen stories being a one-way evolutionary adaptation to the environment. One objection to Gottschall's metaphor about narrative's “adaptive function” in a book about “screen stories” is that virtual reality (VR) is a form of moving image media, but it

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“The physical anxiety of the form itself”

A Haptic Reading of Phil Solomon’s Experimental Films

Hava Aldouby

theory largely coincides with the above findings. Hansen’s analyses of Virtual Reality (VR) art installations arrive at the conclusion that VR is constituted primarily in the viewer’s body, and thus not prior to the moment of engagement with the work

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“The Changing of the Guards”?

British Prehistoric Collections and Archaeology in the Museums of the Future

Catherine. J. Frieman and Neil Wilkin

Sketchfab in order to give structured “tours” of the key features of objects from curatorial (or alternative) points of view ( Figure 3 ). The availability of 3-D models has also made it possible to create the virtual reality (VR) environment in which they

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Pascal Wallisch and Jake Alden Whritner

, we note that it remains to be investigated how even more immersive technology like genuine virtual reality (VR) systems are able to engage the brain. It might turn out that movies are already sufficient in terms of providing a compelling virtual

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‘Go out and learn’

Shakespeare, Bildung and the Jewish Youth Movement in Germany between Integration and Jewish Self-Identification

Rosa Reicher

. Yotam Hotam (Göttingen, V&R unipress, 2009), 11–21. 8 Fabius Schach ‘Das jüdische Theater, sein Wesen und seine Geschichte’, Ost und West 5 (May 1901), 349. In contrast to the Shakespeare productions of Max Reinhard in the 1930s in Berlin could be

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Sheila K. Hoffman

from the museum world, that have included the world's great museums in their 360° tours of global metropolises. 7 In general, museums could learn from the popularity of 360° tours with virtual reality (VR), augmented reality (AR), and 3D technology

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Gianni Barchiesi, Laura T. Di Summa, Joseph G. Kickasola, and Peter Verstraten

games and then of virtual reality (VR), literary scholars with an explicit interest in cognitive psychology have increasingly begun to regard a text as a virtual reality, as Marie-Laure Ryan (1999) has asserted. Considering that a VR system's user

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History Teaching and Cultural Hegemony

Representations of the Spanish Civil War in Francoist History Textbooks of the 1960s

Johanna Fricke

geschichtsdidaktische Überlegungen [Textbooks and the First World War: Analyses from a cultural scientific perspective and approaches from history didactics], ed. Barbara Christophe and Kerstin Schwedes (Göttingen: V&R Unipress, 2015), 15–92, here 24–25. 4 The term