Abstract
Much has been written about the function of narrative in virtual reality (VR) productions (Aylett & Louchart, 2003; Aylett et al, 2005; Ryan, 2001; 2005; 2008; 2009), but the role of the audience, and the relative degree of control that they have over the content, has led some scholars to believe that there is an ontological problem with describing VR in narrative terms. This article investigates some of these assumptions, via an analysis of an undertheorised aspect of VR that has emerged in recent years – the 360° film. It argues that 360° film represents a much more important aspect of VR than has been previously recognised. In so doing, the article establishes this medium as an important field of study, and argues that ultimately, it will be the commercial infrastructure for this content which will define the parameters of immersive storytelling.
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