AccScience Publishing / AC / Volume 1 / Issue 2 / DOI: 10.36922/ac.0683
Cite this article
Journal Browser
Volume | Year
News and Announcements
View All

Shared cinematic experience and emerging technologies: Integrating mixed-reality components for the future of cinema

James Hutson1*
Show Less
1 Art History and Visual Culture, Lindenwood University, Saint Charles, MO, USA
Submitted: 19 April 2023 | Accepted: 14 August 2023 | Published: 12 September 2023
© 2023 by the Author(s). This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution -Noncommercial 4.0 International License (CC-by the license) ( )

The enduring appeal of traditional cinema viewing in the face of alternative experiences, including streaming services and emerging technologies, such as extended reality, is rooted in its esthetic, cultural, and social significance. While the psychological appeal of shared cinematic experiences has gained attention in scholarship, there is a need to further explore the potential enhancement of these experiences through the integration of immersive technologies. The communal nature of cinema fosters social connection, especially in a post-pandemic context marked by widespread social isolation. This study highlights the psychological benefits of shared cinematic experiences and emphasizes the next phase of cinematic evolution, which integrates mixed-reality components while retaining the traditional communal and focused viewing experience. By merging physical and virtual elements, mixed reality offers a unique avenue for exploring the intersection of technology and psychology in the context of cinema. In addition, this article addresses practical applications for filmmakers and industry professionals by outlining technical considerations for integrating mixed-reality elements throughout the filmmaking process, from production to distribution and viewing. The integration of mixed-reality components represents a significant step in the evolution of cinema, providing valuable insights into its potential implications for the research community and the film industry.

Mixed reality
3D filmmaking
  1. Yaqoub M, Jingwu Z, Ambekar SS, 2023, Pandemic impacts on cinema industry and over-the-top platforms in China. Med Inter Aust, 1329878X221145975.


  1. Weaving S, Hight C, Nobes K, et al. 2020, Working with the Australian cinema industry to understand the movie-going experience. Stud Aust Cin, 14(2): 80–94.


  1. Marasco A, 2020, Beyond virtual cultural tourism: History– living experiences with cinematic virtual reality. Tour Herit J, 2(1): 1–16.


  1. Ross M, 2020, Virtual reality’s new synesthetic possibilities. Tele New Med, 21(3): 297–314.


  1. Kim HC, Zhu ZY, 2021, The moderating role of acculturation in fostering young Chinese moviegoers’ sustainable e-WOM behaviour in Korea. Beh Info Tech, 40(15): 1688–1699.


  1. Harrod M, Leonard S, Negra D, 2021, Introduction: Romance and social bonding in contemporary culture-before and after COVID-19. In: Imagining “We” in the Age of “I”. Oxfordshire: Routledge, p. 1–28.


  1. Atkinson S, 2011, Stereoscopic-3D storytelling-rethinking the conventions, grammar and aesthetics of a new medium. J Media Pract, 12(2): 139–156.


  1. Loureiro BRN, 2019, The Impact of Streaming Services and Video-on-Demand on the Cinematic Exhibition Industry: Taking an Experiential Approach [MSc Thesis, University Institute of Lisbon, Iscte Repository].


  1. Lee H, Bellana B, Chen J, 2020, What can narratives tell us about the neural bases of human memory? Cur Opin Behav Sci, 32(1): 111–119.


  1. Li Y, Chen M, Zhang R, et al., 2022, Experiencing happiness together facilitates dyadic coordination through the enhanced interpersonal neural synchronization. Soc Cogn Affect Neurosci, 17(5): 447–460.


  1. Dillon KOF, 2022, Third Wheel or Third Thing? Examining the Relationship between Social-recreational Technology Use and Romantic Relationship Satisfaction [MA Thesis, Carlow University]. United States: Carlow University ProQuest Dissertations Publishing.


  1. Ostrowski AK, DiPaola D, Partridge E, et al., 2019, Older adults living with social robots: Promoting social connectedness in long-term communities. IEEE Robot Autom Mag, 26(2): 59–70.


  1. Holz N, Larrouy-Maestri P, Poeppel D, 2022, The variably intense vocalizations of affect and emotion (VIVAE) corpus prompts new perspective on nonspeech perception. Emotion, 22(1): 213–225.


  1. Sari DW, Igarashi A, Takaoka M, et al., 2020, Virtual reality program to develop dementia‐friendly communities in Japan. Australas J Ageing, 39(3): e352–e359.


  1. Share J, Mamikonyan T, Lopez E, 2019, Critical media literacy in teacher education, theory, and practice. In: Oxford Research Encyclopedia of Education. Oxford: Oxford University Press, p. 1–30.


  1. Lee H, 2023, Cinema and television. In: The Oxford Handbook of South Korean Politics. Oxford: Oxford University Press, p. 377.


  1. Kuchelmeister V, 2020, Experience design for virtual reality. From illusion to agency. Int J Stereo Immers Media, 4(1): 134–153.


  1. De Rosa AS, Mannarini T, 2021, Covid-19 as an “invisible other” and socio-spatial distancing within a one-metre individual bubble. Urb Des Intern, 1(1): 1–21.


  1. Salgaonkar ASN, 2023, Philosophy of films and the use of Dhvani or suggestion. Multi App Art Sci Commun, 3(1): 61.


  1. Aboulaoula SM, Biltereyst D, 2021, Corona cinephilia: A qualitative audience study on cinephile places, spaces and the impact of COVID-19 on urban cinephilia in the city of Ghent, Belgium. J Audience Recept Stud, 18(2): 473–497.


  1. Lüders M, 2022, Self-determined or controlled, seeking pleasure, or meaning? Identifying what makes viewers enjoy watching television on streaming services. Poet, 92(1): 101639.


  1. Forni D, 2020, Young adults and TV series. Netflix and new forms of serial narratives for young viewers. MeTis-Mon Educ Tem Indag Sugg, 10(1): 296–312.


  1. Pjesivac I, Wojdynski BW, Binford MT, et al., 2021, Using directional cues in immersive journalism: The impact on information processing, narrative transportation, presence, news attitudes, and credibility. Digit J, 1(1): 1–23.


  1. Gallon R, 2021, Lights, Camera, Interaction! Interactive Film and Its Transformative Potential [MSc Thesis, University of York]. White Rose eTheses Online.


  1. Zündel J, 2019, Serial skipper: Netflix, binge-watching and the role of paratexts in old and new ‘televisions’. Part J Aud Recept Stud, 16(2): 196–219.


  1. Hennig-Thurau T, Ravid SA, Sorenson O, 2021, The economics of filmed entertainment in the digital era. J Cult Econ, 45(1): 157–170.


  1. Pratap S, Jain M, Singh SK, et al., 2023, Analyzing the factors affecting media consumer trends during the COVID-19 period-the rise of web series by different otts V/S traditional TV serials In India. Eur J Mol Clin Med (EJMCM), 10(1): 989-1004.


  1. Xiong J, Hsiang EL, He Z, et al., 2021, Augmented reality and virtual reality displays: Emerging technologies and future perspectives. Light Sci Appl, 10(1): 216.


  1. Kracauer S, 2019, From Caligari to Hitler: A Psychological History of the German Film. New Jersey: Princeton University Press.


  1. Carroll J, Clasen M, Jonsson E, 2020, Evolutionary Perspectives on Imaginative Culture. Berlin: Springer Nature.


  1. Miskell P, 2019, Entertainment and the film industry. In: The Routledge Companion to the Makers of Global Business. Oxfordshire: Routledge, p. 377–391.


  1. Graham P, Vincendeau G, 2022, The French New Wave: Critical landmarks. London: Bloomsbury Publishing.


  1. Lobato R, Lotz AD, 2020, Imagining global video: The challenge of Netflix. JCMS: J Cin Med Stud, 59(3): 132–136.


  1. Chen Y, Kumara EK, Sivakumar V, 2021, Investigation of finance industry on risk awareness model and digital economic growth. Ann Oper Res, 1(1): 1–22.


  1. Alizadehsalehi S, Hadavi A, Huang JC, 2020, From BIM to extended reality in AEC industry. Autom Constr, 116(1): 103254.


  1. De Wispelaere T, Tastenhoye D, van Werde V, et al., 2021, Multicam Live Production in a Virtual Environment. In: SMPTE 2021 Annual Technical Conference. New York: SMPTE, p. 1–10.


  1. Hadida AL, Lampel J, Walls WD, et al., 2021, Hollywood studio filmmaking in the age of Netflix: A tale of two institutional logics. J Cult Econ, 45(1): 213–238.


  1. Erickson MP, 2019, Old strategies in the new paradigm. In: Political Economy of Media Industries: Global Transformations and Challenges. Oxfordshire: Routledge.


  1. Brinker F, 2021, Transmedia storytelling in the “Marvel Cinematic Universe” and the logics of convergence-era popular seriality. In: Make Ours Marvel. Texas: University of Texas Press, p. 207–233.


  1. Gaustad T, 2019, How streaming services make cinema more important. Nord J Med Stud, 1(1): 67–84.


  1. Mcclintock P, 2021, Summer box office: Studios ‘optimistic,’ though ‘only time will tell’: Polling indicates that consumers are more and more comfortable returning to theaters even as studios hedge their bets by releasing such tentpoles as Black Widow and Boss Baby: Family business day-and-date. Holly Rep, 427(20): 22–23.


  1. Rach M, Scott R, 2020, The Use of Virtual Reality in Marketing: Exploring the Need for Technology and Language Adaptation to Create High Quality Immersive Experiences. In: Marketing and Smart Technologies: Proceedings of ICMarkTech 2019. Singapore: Springer Singapore, p. 67–77.


  1. Pillai JS, Verma M, 2019, Grammar of VR Storytelling: Analysis of Perceptual Cues in VR Cinema. In: CVMP ’19: Proceedings of the 16th ACM SIGGRAPH European Conference on Visual Media Production. New York: Association for Computing Machinery, p. 1–10.


  1. Salvador E, Simon JP, Benghozi PJ, 2019, Facing disruption: The cinema value chain in the digital age. Int J Arts Manag, 22(1), 25–40.


  1. Zioga P, Vélez-Serna MA, 2022, Interaction design for audiences: A proposition for building resilience and recovery for COVID-safe independent cinemas. In: Audiences Beyond the Multiplex: Understanding the Value of a Diverse Film Culture. Sheffield: Digital Humanities Institute.


  1. McSweeney T, Joy S, 2019, Change your past, your present, your future? Interactive narratives and trauma in Bandersnatch 2018. In: Through the Black Mirror: Deconstructing the Side Effects of the Digital Age. London: Palgrave Macmillan, p. 271–284.


  1. Hesmondhalgh D, 2019, Have digital communication technologies democratized the media industries? In: Media and Society. Vol. 1. London: Bloomsbury Academic, p. 101–120.


  1. Wagner KB, 2023, TikTok and its mediatic split: The promotion of ecumenical user-generated content alongside Sinocentric media globalization. Med Cult Soc, 45(2): 323–337.


  1. Castillo A, Benitez J, Llorens J, et al., 2021, Social media-driven customer engagement and movie performance: Theory and empirical evidence. Decis Support Syst, 145(1): 113516.


  1. Buana MW, 2023, Metaverse: Threat or opportunity for our social world? J Metaverse, 3(1): 28–33.


  1. Rubin D, Mohr I, Kumar V, 2022, Beyond the box office: A conceptual framework for the drivers of audience engagement. J Bus Res, 151(1): 473–488.


  1. Li MX, Zhang WY, Zhang SQ, et al., 2020, Research on wavelength division film of glasses based on 3D technology in cinema. Proc SPIE, 11455: 114550G7.


  1. Dixon WW, Foster GA, 2019, 21st-Century Hollywood: Movies in the Era of Transformation. New Jersey: Rutgers University Press.


  1. Solimini AG, 2013, Are there side effects to watching 3D movies? A prospective crossover observational study on visually induced motion sickness. PLoS One, 8(2): e56160.


  1. Yao L, Zhou L, Qian Z, et al., 2022, Exploring the impact of 3D movie watching on the brain source activities and energy consumption by ESI and fNIRS. Biomed Sign Process Control, 71(1): 103194.


  1. Freeland C, 2012, On being stereoblind in an era of 3D movies. Essays Philos, 13(2): 550–576.


  1. Heffernan K, 2004, Ghouls, Gimmicks, and Gold: Horror Films and the American Movie Business, 1953–1968. North Carolina: Duke University Press.


  1. Mendiburu B, 2012, 3D Movie Making: Stereoscopic Digital Cinema from Script to Screen. Florida: CRC Press.


  1. Atkinson S, Kennedy HW, 2022, Secret cinema as format. In: Secret Cinema and the Immersive Experience Economy. Manchester: Manchester University Press, p. 61–94.


  1. Koppal SJ, Zitnick CL, Cohen M, et al., 2010, A viewer-centric editor for 3D movies. IEEE Comput Graph Appl, 31(1): 20–35.


  1. Nielsen LT, Møller MB, Hartmeyer SD, et al., 2016, Missing the Point: An Exploration of How to Guide Users’ Attention During Cinematic Virtual Reality. In: Proceedings of the 22nd ACM Conference on Virtual Reality Software and Technology. New York: Association for the Computing Machinery, p. 229–232.


  1. Michelle C, Davis CH, Vladica F, 2012, Understanding variation in audience engagement and response: An application of the composite model to receptions of Avatar 2009. Commun Rev, 15(2): 106–143.


  1. Raybourn EM, Stubblefield WA, Trumbo M, et al., 2019, Information Design for XR Immersive Environments: Challenges and Opportunities. In: Virtual, Augmented and Mixed Reality. Multimodal Interaction: 11th International Conference, VAMR 2019, Held as Part of the 21st HCI International Conference, HCII 2019, Orlando, FL, USA, July 26-31, 2019, Proceedings, Part I 21. New York: Springer International Publishing, p. 153–164.


  1. Sherman WR, Craig AB, 2018, Understanding Virtual Reality: Interface, Application, and Design. Massachusetts: Morgan Kaufmann Publishers.


  1. Tooke N, Baker M, 1996, Seeing is believing: The effect of film on visitor numbers to screened locations, Tour Manag, 17(2): 87–94.


  1. Stapleton CB, Hughes CE, 2005, Mixed reality and experiential movie trailers: Combining emotions and immersion to innovate entertainment marketing. IEEE Comput Graph Appl, 25(6): 23–27.


  1. Danieau F, Fleureau J, Guillotel P, et al., 2014, Toward haptic cinematography: Enhancing movie experiences with camera-based haptic effects. IEEE MultiMedia, 21(2): 11–21.


  1. Khamis M, Schuster N, George C, et al., 2019, Electrocutscenes: Realistic Haptic Feedback in Cutscenes of Virtual Reality Games Using Electric Muscle Stimulation. In: Proceedings of the 25th ACM Symposium on Virtual Reality Software and Technology. New York: Association for Computing Machinery, p. 1–10.


  1. Kuk G, Janssen M, 2013, Assembling infrastructures and business models for service design and innovation. Inform Syst J, 23(5): 445–469.


  1. Roberts D, Greene, L, 2011, The theatre of high-fidelity simulation education. Nur Educ Today, 31(7): 694–698.


  1. Ducasse J, Brock AM, Jouffrais C, 2018, Accessible interactive maps for visually impaired users. In: Mobility of Visually Impaired People: Fundamentals and ICT Assistive Technologies. Edinburgh: Springer Cham, p. 537–584.


  1. Brewster S, 2017, The impact of haptic ‘Touching’ technology on cultural applications. In: Digital Applications for Cultural and Heritage Institutions. Oxfordshire: Routledge, p. 301–312.


  1. Hughes CE, Stapleton CB, Hughes DE, et al., 2005, Mixed reality in education, entertainment, and training. IEEE Comput Graph Appl, 25(6): 24–30.


  1. Divekar RR, 2020, AI Enabled Foreign Language Immersion: Technology and Method to Acquire Foreign Languages with AI in Immersive Virtual Worlds [PhD Thesis, Rensselaer Polytechnic Institute]. RPI Theses Open Access.


  1. Sakai D, Joyce K, Sugimoto M, et al., 2020, Augmented, virtual and mixed reality in spinal surgery: A real-world experience. J Orthop Surg (Hong Kong), 28(3).


  1. Rings S, Steinicke F, 2022, Local Free-View Neural 3D Head Synthesis for Virtual Group Meetings. In: 2022 IEEE Conference on Virtual Reality and 3D User Interfaces Abstracts and Workshops (VRW). New Jersey: IEEE, p. 333–337.


  1. Monterubbianesi R, Tosco V, Vitiello F, et al., 2022, Augmented, virtual and mixed reality in dentistry: A narrative review on the existing platforms and future challenges. Appl Sci, 12(2): 877.


  1. Kaye N, 2000, Site-Specific Art: Performance, Place and Documentation. London: Psychology Press.


  1. Zikic N, 2007, Evaluating relative impact of VR components screen size, stereoscopy and field of view on spatial comprehension and presence in architecture. Comp Int Construct Res Program, 53: 3–116.


  1. Nakevska M, van Der Sanden A, Funk M, et al., 2017, Interactive storytelling in a mixed reality environment: the effects of interactivity on user experiences. Entertain Comput, 21(1): 97–104.
Conflict of interest
The author declares no conflicts of interest.
Back to top
Arts & Communication, Electronic ISSN: 2972-4090 Published by AccScience Publishing