The Hyperimmersive Turn and the Metaverse: Gamification of the Audiovisual Landscape

Time Bomb from the West: Video, the Advertising Industry, and Consumer Culture in Late-Socialist Czechoslovakia

Similar to many creative (and other) industries, the film and television industries have for long been permeated by male norms, and by the male worker as the norm. In this context, women workers have always been considered "oddities" – unless they have acted in front of the camera. To a large extent, women have been (and still are) image (Fischer, 1976; Mulvey, 1975). Women's work behind the camera have been counteracted, not least through efforts to exclude them from positions characterized as "creative" or "above-the-line" such as director, producer, and script writer. Further, women have been met with pervading difficulties in allocating finances for their projects and with circumscribed possibilities to have their work screened in the cinema. And although (a few) women are key through their function as "image," films with a woman protagonist are usually provided with a lesser budget than films with a male lead, and women actors get distinctly less paid than their male counterparts (SFI, 2018, https://www.forbes.com/sites/natalierobehmed/2017/08/22/full-list-the-worlds-highest-paid-actors-and-actresses-2017/?sh=2e1c961f3751). Let us give an example of the former: in the Swedish film industry, recently hailed worldwide of being one of the most gender equal screening industries, feature films made between 2013 and 2016 differed in terms of budget depending on the whether the protagonist in a film was male or female. Films with a male lead had on average a 33% higher budget than films with a woman lead. In that same period, women feature film directors had on average a budget ranging between 66% and 86% of the budget of films with a man as director (SFI, 2018). The report published in 2018, by the Swedish Film Institute, concluded that: "[films with women in] key functions generally have overall lower budgets than men" (SFI, 2018, p. 17). Following the international impact that the #Metoo-movement has had and still has, and the recent demands for a 50/50 dispersion between men and women on above-the-line positions in the film industry, gender issues have advanced to the forefront in discussions dealing with the working situation in the film and screen industries. These discussions have appeared in various national contexts in print and social media, as well as in academic work (see, e.g., Jansson et al., 2020; Liddy, 2020; Marghitu, 2018; Meziani & Cabantous, 2020; O'Brien, 2019). It has become obvious that gender inequality pervades all screen industries, large and small, and that women screen workers in different national screen contexts share similar experiences. As film and television production is becoming more and more globalized, with single productions often being the outcome a variety of regional and national industries, finances and competences, working and gendered experiences of being in the industry are also becoming increasingly globalized. Still, there are regional and local differences in how women screen workers experience their work and career situation and these need to be addressed. There are also various aspects of screen work that remain to be tended to academically. Hence, this special section offers a sample of national and local studies that all investigate how gender and equality work is done in four different contexts. It is our hope that this small sample may inspire not only more studies of national contexts, but also inspire to future cross-national studies. Before discussing how various academic fields have engaged with the screening industries in terms of work experience and representation, we wish to point out that film and television, as two available media formats reaching large and heterogeneous audiences, constitute two of the most central expressions of our time, and that both contribute to reflect and mold our understanding of society, of others – and of ourselves (de Lauretis, 1987; Dyer, 1993). Questions about who is allowed to make film and TV and what messages and images are presented and conveyed are thus politically important and imperative. The long-standing male dominance in the industry, together with the realization that images do matter, has sparked an interest in studying gender in the screen industries. The gender conditions in the film industry have attracted scholarly attention across the variety of disciplines in the social sciences and the humanities, and this special section is a vivid example of this cross-disciplinary scholarship. Three specific, but interrelated fields stand out when it comes to the study of gendered work and inequalities in these industries: production studies, management and life work studies, and studies of women's presence and conditions in screen work. In management studies and work life research, the early 2000s saw an increased interest in focusing and exploring the working conditions in the screening industries, alongside the growing interest for working experiences in what often referred to as the creative industries (see, e.g., Blair, 2001; Delmestri et al., 2005; Ebbers & Wijnberg, 2009; French, 2020; Jones & Pringle, 2015; Meziani & Cabantous, 2020; Soila-Wadman, 2003; Sörensen & Villadsen, 2014). This strand has also included a certain focus on how film can be used as a tool for instruction on how to exert leadership (see, e.g., Bell & Sinclair, 2016). Parallel to this development is the emergence of production studies, emanating from film and television studies. This field explores film and media as cultural practices of media production, and it does so from a variety of perspectives and with various methods. Of particular pertinence here is the sub-field of feminist production studies. This field engages in studying how "routines and rituals […], the economic and political forces […] shape roles, technologies, and the distribution of resources according to cultural and demographic differences" (Mayer et al., 2009, p. 4) in order to understand how "power operates locally through media production to reproduce social hierarchies and inequalities at the level of daily interaction" (Mayer, 2009, p. 15). One of the field's most important contributions here is the critique of the "auteurist" view that films are the "voice" of one single artist, most often the director. Instead, they argue that films are the result of collective work. Departing from this insight, production studies scholars have noted the importance of studying the work that is carried out in the margins, to question the differentiation between "creative" and "craft" professions in film making, and to pay attention to the work done "below-the-line" by workers in the film industry who are seldom credited, but without whose work films would not be produced (see, e.g., Banks, 2009, 2018; Banks et al., 2016; Mayer, 2009, 2011; Mayer et al., 2009). Alongside these two areas of research, there is a third, and more recent, strand that is dedicated to studying women's presence, analyzing policy measures targeting gender (in)equality along with studying impediments to gender equality in the film industry and women's conditions in a male dominated screening industry. This strand of research comes out of feminist media studies as a rather broad field, encompassing both the humanities and the social sciences. While research in both management studies and productions studies constitute important foundations for any research conducted on gender and screen work, for this special section, it is this third strand that is of most relevance, taken that it embraces and explores both local and the global aspects of women's conditions in the male dominated screening industries. Let us therefore shortly present this strand a bit more – and the issues it has raised – in order to give a contextualization of this special section and its four articles. Studies of women's presence in the film industry have mapped the number of women behind the camera, sometimes also including an intersectional analysis and identified gendered budget-gaps and other impediments to gender equality (Cobb, 2020; Lauzen, 2019; Liddy, 2020; Smith et al., 2013). Much of this research is conducted in the United States, discussing the conditions in a film industry that is exclusively driven by private, and most often commercial, stakeholders. In other commercially focused film centers such as Bollywood in India and Nollywood in Nigeria, women behind the screen are reported to be few and the representation of women on screen stereotypical (Mukherjee, 2018; Prakash, 2020; Ukata, 2020). In other contexts, such as Europe, Australia, New Zealand, and Canada, where there is public support for film production, gender equality is often proclaimed to be a goal. For instance, the Council of Europe (2017) declared its dedication to gender equality in film production in the so-called Sarajevo-declaration, and according to a mapping carried out by the European Audiovisual Observatory in 2019, 15 EU countries have introduced gender equality measures (EAO, 2019, p. 16). In a recent anthology collecting evidence from a number of countries, media scholar Susan Liddy concludes that while demands for gender equality has been voiced by women in all contexts, public funding institutions range from those being "gender blind… to those who theoretically commit to equality but prevaricate on the best measures to implement change to others who have introduced formal gender policies and intervention strategies" (Liddy, 2020, p. 2). Scholars have pointed to several problems with gender equality policies and reforms in the film sector: they are often vague and without a plan for implementation (Thorsen, 2020), they only reach those who are involved in projects actually funded by public means (Cobb & Williams, 2020), and they lack intersectional intention and reach (Cobb & Williams, 2020; Thorsen, 2020). Further, when reforms are implemented, problems arise because making films include a range of different stakeholders and parties, which are out of reach of government policies (Jansson, 2016), and because the film industry is entrenched with institutionalized norms and values that is difficult to change and which tend to reduce the effects of policies (Jansson, 2017; Jansson & Wallenberg, 2020). Scholars investigating women's conditions in the film industry have for a long time indicated that the way the industry is organized both formally and informally benefits white men. The sexual division of labor in the organization is manifested in women being found on positions such as script supervisors, costume designers, and make-up artists, as well as in various below-the-line positions. Many below-the-line professions are dominated by men, and the female dominated positions such as the ones mentioned above, tend to have lower status (Banks, 2009). Scholars have also noted differences in status among above-the-line professions. For instance, while male directors and scriptwriters are considered to be able to "carry" a movie, women directors and scriptwriters are not considered to do so (Bielby & Bielby, 1996, Eikhof and Cole in this issue). The trope of the male genius has been discussed as a hindrance to gender equality in several studies (see, e.g., Lantz, 2007; Marghitu, 2018; Regev, 2016; Schatz, 1988; and by Jansson et al. in this special section). Studies have also looked into how other features of the way the film industry is organized affects gender and concluded that the outcome of networking differs substantially to the favor of men (Grugulis & Stoyanova, 2012). Moreover, mothering duties limits women's possibilities in an industry where long days and extremely intense periods of work away from home are considered to be the normal procedure (Liddy, 2017; Liddy & O'Brien, 2021; O'Brien, 2015, 2019; Wing-Fai et al., 2015; Wreyford, 2013). Considering all these past (and recent) studies, there is no doubt that the screening industries – as production sites and as workplaces – are of definite interest to scholars within different disciplines. This special section aims at addressing some of the issues that recent scholarship has touched upon and tried to tackle, and it does so from four different national and cultural contexts. At the center of all four articles included in the section is the analysis of women's conditions in the screening industries, including their experiences of working and trying to get by – and of how these industries continue to foster the notion of women film workers as "oddities" in an industry that continues to uphold the idea of the genius as male. Let us now turn to the four articles included in this special section. In our first article, "The price of motherhood in the Irish film and television industries," media scholars Susan Liddy and Anne O'Brien discuss the continuous problems that surround motherhood and screen work, finding in their material evidence that there is a systemic bias against mothers, not only as women, but also as women and mothers, and that mothers have internalized the marginalization that comes from their maternal status. They have also found that many mothers adapted ways that would help them to sustain their working lives, but they were rarely supported in those adaptations by the screen production industry. In "'Almost a European, but not quite': Experiences of Female Employees in the Lithuanian Film Industry from the Postcolonial Point of View," authors Lina Kaminskaite and Jelena Salaj discuss how the women filmmakers experience their conditions in a film industry that is still marked by the transformation of Lithuania from being part of the Soviet union to becoming a country which is a member of the EU. They argue that the Lithuanian film industry is characterized by being in a postcolonial state. While the opening up of Lithuania has meant new possibilities for women film workers, it has also presented difficulties and the negotiation of new identities and new mode of film production. Doris Ruth Eikhof and Amanda Cole focus on how women are considered a risk in film production and how this leads to precarious conditions for women in the industry. In their article named, "On the basis of risk: Screen directors and gender inequality," they use the intersectional risk theory to understand how gender inequality is related to risk management practices in the screen industry. Studying two specific gender equality initiatives in the Canadian film industry, they show how risk management is gendered, and they argue that risk plays an important part in decision making in the industry. By understanding how risk is gendered, they argue, it is possible to change the processes that decides how risk is understood. The last article included in this special section departs from the much-debated aspect of film production, namely the final saying over a film's final format. In "The Final Cut," authors Maria Jansson, Frantzeska Papadopoulou, Ingrid Stigsdotter, and Louise Wallenberg discuss how the relationship between film director and producer serve to reproduce gendered relations that position the male creator and producer as norm – even in contexts where both director and producer are women. Departing from a series of interviews made with mostly women working in these two professions, the authors show how these two above-the-line professions are still governed by the malestream and that they tend to be constructed in relation to masculinity. Clearly, even in a country like Sweden, often hailed for its equality work, the gender equality measures that are undertaken are not sufficient to come to grips with gender inequalities and the male norm. Taken together the four articles shed light on different aspects of the film industry. The evidence provided from the different countries indicate that there are many similarities in the challenges that women in the film industry face. However, there are also differences depending on context. The article about Lithuania shows the importance of situating the film industry in a historical and political context. O'Brian and Liddy show in their article, the importance of understanding the specific context of how child care and the welfare state play out in order to capture women's conditions in film and television work. Eikhof and Cole's article demonstrates the necessity of applying an intersectional approach in order to also see differences in conditions between women, even if they work in the same industry and the same country. The article on Sweden, finally, looks deeper into how specific gender equality policies targeting the film industry plays out, and what problems remain, after having been implemented for almost 20 years. We believe that this special section is one step toward a deeper understanding of how gender shapes the working conditions in the film industry, and hope that it will inspire further research that takes a wider, more inclusive and possibly also more comparative grip on women screen worker's experiences and work conditions. This work was supported by the Riksbankens Jubileumsfond under Grant no. P17-0079:1. No conflict of interest has been declared by the authors. The authors confirm that the data supporting the findings of this study are available within the article and/or its supplementary materials.

With the development of digital technology and the acceleration of globalization trend, the film and television industry is facing unprecedented challenges and opportunities. The Academy of Film and Television Arts needs to continuously explore new teaching methods and curriculum systems in order to cultivate talents with more innovative and practical abilities and inject fresh blood into the film and television industry. This paper introduces the theory of sustainable competitive advantage and examines the application of technological advances in film and television art schools since 1978. The study finds that the evolution of contemporary technology in China is not only reflected in artistic production, but also in the evolution of artwork styles. In order to maintain a competitive edge, film and television arts colleges need to innovate and actively introduce new technologies and concepts, as well as create a favorable academic atmosphere that encourages students' innovative thinking and cultivates talents with professional competence and innovative spirit. This study provides new perspectives on how film and television arts colleges can utilize the theory of sustainable competitive advantage to promote innovation and development, and it is hoped that this study will be useful for other arts colleges that are also facing competitive pressures.

AI (Artificial Intelligence) technology and new shooting techniques provide new research hotspots for the creation and development of film and television works.This academic conference is based on emerging technologies such as AI, VR (virtual reality), AR (augmented reality), MR(mixed reality), XR(extended reality),etc., and jointly explores the application and practical development prospects of AI and emerging shooting technologies in script conception, character shaping, scene construction, and post editing of film and television art creation.This study analyzed the advantages and disadvantages of emerging filming technologies in the film and television industry and proposed corresponding solutions, such as introducing intelligent editing, intelligent special effects, etc., to improve the efficiency and quality of film and television works. While bringing immersive viewing experience to the audience, it also promotes technological innovation and industrial upgrading in the film and television industry.The research results emphasize that the film and television industry must attach importance to talent cultivation and team building in its future development, strengthen communication and cooperation with AI technology enterprises, and jointly promote the research and development of emerging shooting technologies, providing a solid theoretical foundation, technical support, and practical reference for the future development of the film and television industry.

With the rapid development of artificial intelligence technology, great changes have taken place in human life and aesthetic concepts. The “face changing” technology in the film and television cultural industry, with accurate capture and real-time technology, provides a new thinking and new aesthetic existence for the development of the film and television industry. Based on the conceptual characteristics, historical context and AI face changing technology of AI, this paper discusses the transcendence of AI art over traditional film and television art in film and television works, discusses the innovation of AI to traditional film and television art, the expansion of human creativity, and the challenge of human development mechanism, and briefly analyzes the curve of horror Valley theory - it is a hypothesis about human feelings about robots and non-human objects. On this basis, it reflects on the hidden dangers behind the wider application of artificial intelligence, with a view to clarifying the direction of the next step.

Up to now, traditional culture is presenting its unique artistic charm with diversified forms. More flexible and diverse development trend is presented by combining traditional culture and modern technology. In the creation of animation film and television works, China's animation film and television industry has achieved great success in this era of digital development by referring to traditional culture of China. For example, the success of Mulan, Kung Fu Panda and other animation television works, has won the broad market for the animation film and television art works with traditional culture elements, and has pointed out new development direction for animation designers. With the advent of digital age, there are more ways and means for the spread and development of traditional culture, more and more traditional cultural themes are made into animation film and television works, which are well-loved. Thus, it can be seen that the development of animation film and television industry should not only focus on technical issues, but shall also pay attention to cultural connotation of the works. Since the brilliance of Chinese School, there have almost no animation films with high quality yet without age limitations in China to cope with the global animation film development trend and people's changing cultural needs. The excellent domestic animation films, such as “Monkey King: Hero Is Back”, “Little Door Gods” and “Kuiba” released in 2015, like a strong cry, showing the heavy counterattack of domestic animation. The remodeled form of traditional culture has broken this deadlock accidentally. It has interpreted the new generation of animators’ understanding of traditional themes and modern animation film from the perspective of breakthrough of role modeling at that time and the perfect integration of fashion and traditional culture, which is an attempt of transformation of modern animation film, and has provided reference prototype for its further development. Keywords—traditional culture; modern film and television; animation film; digital development; value expression

Digital learning environments are generally composed of resources that cumulatively meet some specified educational objective, with each resource facilitating the acquisition of a subset of the concepts to be learned. In such contexts narrative has, for example, been used to support the understanding and navigation of a course or curriculum structure into which the resources have been pre-organised. Conversely, we focus on educational contexts where the unit of learning is concepts derived across the constituent resources. Such learning across resources often characterises more learner-directed, inquiry-based, exploratory, or informal learning activities. Here the task of the learner is to select, organise, and conceptualise collections of resources, a task that narrative can potentially support. Using narrative to aid learners in working across a set of resources introduces a perennial challenge of interactive narrative – how to appropriately facilitate both narrative coherence and user control. Narrative coherence can help the learner to reason and navigate across a set of resources. Learners also need sufficient user control over resource selection, organisation, and use so that they do not feel over-constrained in what they can explore. Murray made a thought-provoking comparison between reading an interactive narrative and viewing a sculpture. We use this as a starting point to derive desirable properties for interactive narrative that support learning across resources, namely inter- and intra-perspective coherence and control. As an example, we interpret two of our systems in terms of how they meet these properties and sketch some general guidelines for the design of interactive narrative systems that support learning across resources.

Purpose - This paper discusses the historical traceability of artificial intelligence technology and its development lineage in the film and television industry. It analyzes the close connection between AI technology and the film and television industry. The text summarizes the challenges and impacts of AI technology on the film and television industry, along with suggestions for future development. Design/Methodology/Approach - In order to explore the impact of artificial intelligence on the film and television culture industry, this paper analyzes the impact of artificial intelligence on the film and television culture industry from the perspective of macro-industry and the perspective of application technology, starting from the overall technological impetus of artificial intelligence to the film and television culture industry and the application of artificial intelligence in film and television image processing. The case was analyzed in detail. Based on a summary of previous research, this study identifies key issues and proposes solutions. Findings - Through the research of this paper, the problems of artificial intelligence in film and television creation are summarized, and the potential problems are easily generated technical dependence, legal risks in creation, and reduced professional value of practitioners, etc. Countermeasure suggestions are put forward to break the technical dependence, provide a legal basis for the creation of artificial intelligence, and adjust the use of the positioning to realize the synergy between man and machine. Research Implications - This paper aims to enhance the application of AI in the film and television culture industry, thereby increasing the industry vitality of the film and television sector.

Against the backdrop of steady economic development in China, the quality of life of the people is constantly improving, and their spiritual needs are gradually increasing. The film and television industry has ushered in unprecedented development opportunities and produced superstars, forming a fan economy. Therefore, industry practitioners, especially film and television stars, have a relatively high-income level. However, due to the development of the film and television industry, there has been a mismatch in the personal income tax collection and management system, resulting in a significant loss of tax revenue. The frequent occurrence of high-income celebrities evading huge taxes indicates that there are certain loopholes in the personal income tax collection and management of high-income groups in China's film and television industry. This article is based on the problems discovered in the Zheng Shuang tax evasion case, delving into the issue of personal income tax collection and management, and proposing beneficial solutions. In response to the current issue of personal income tax collection and management in China's film and television industry, the following suggestions are proposed: optimizing the tax system, strengthening tax collection and management, and improving the tax related environment. Through the research in this article, we hope to provide some ideas for the tax authorities to strengthen the personal income tax collection and management of the film and television industry, and reduce the loss of personal income tax.

In this paper we present an eye tracking study of the user experience in an interactive system with a non-linear narrative's structure. The non-lineal narrative open new possibilities for the user interactions trough new communication formats and exposition freedom. However, the interactive non-linear narrative has the conception of the active user, that has the necessity of involve in the system to understand and enjoy it. In this research, our main goal is to study of new ways of user experiences. For this reason, we designed, developed and validated an interactive system with various non-lineal narrative structures. So, the non-linear narrative structure, the user experience variables and the results of the tests will be discussed in this work.

COVID 19 팬데믹 상황은 극장에 다수의 사람이 모일 수 없게 하고, 소비자들은 대부분의 영상콘텐츠를 비대면으로 향유하도록 강요받고 있으며, 바야흐로 메타버스 시대의 도래는 영상콘텐츠를 향유하는 매체를 획기적으로 다양화하고 있다. 작금의 여러 가지 대내외 여건의 변화에도 불구하고 그래도 역시 중요한 것은 결국 콘텐츠 그 자체이다. 양질의 콘텐츠를 지속적으로 창작하고 상품화할 수 있는 시장환경이 필요하다. 이를 위해서는 정부의 적극적인 지원과 관심이 필요하다. 산업으로서의 영상콘텐츠는 규제와 진흥 및 성장을 필요로 하는 점에서는 다른 여타의 산업분야와 유사하다고 말할 수 있으나, 일반 제조업에서와는 다른 “Soft Power”로서의 산업 자체의 특성을 고려한 지원과 정책을 마련할 필요가 크다. 2021년 세법개정안에서 국내 OTT사업자에 대해서도 영상콘텐츠 제작비 세액공제 대상으로 포함시킨 것은 이러한 시대상을 반영한 합리적인 선택이었다고 평가할 수 있다. 그러나 세액공제율이 다른 선진국에 비해 상대적으로 낮고 국내제작비에 국한한 지원에 불과하며 그 일몰시한이 내년으로 다가오는 문제점이 지적될 수 있다. 특히 해외와 국내 병행제작이 늘어나고 있는 추세에서 해외에서 납부한 세액을 우리나라의 법인세 등을 신고납부할 때 공제하여 이중과세를 제거함에 있어서도 외국납부세액 전액을 세액공제할 수 있도록 공제한도규제를 개선하고 한도초과액의 이월공제를 실질적으로 보장하여 해외 제작 영상콘텐츠기업의 세부담을 대폭 완화하여 글로벌 경쟁력을 확보할 수 있도록 지원하여야 할 것이다. 그밖에 연구개발비 세액공제를 적용함에 있어서도 기존의 제조업 중심의 물적 시설요건을 배제하고 콘텐츠 기획 개발 활동을 연구개발비 세액공제 대상으로 명시하는 등 소프트 파워로서의 영상콘텐츠기업에 걸맞는 세제로 탈바꿈하도록 하여 본래 의도한 입법취지가 제대로 살아날 수 있도록 영상콘텐츠산업 관련 지원 세제를 개선할 것을 제안한다.This article aims to present the legal improvement of tax credits for Korean Film and Video industry, whch is main stream of media platforms in the era of Metaverse. Since 2017 film industry of Korea receives indepen- dent benefits of tax credit: so called, film and video tax credit. But the rate and subject of the film and video tax credit is ralatively small and poor in comparison to the western countries like USA, Canads, England, France etc. Contents are so called ‘Soft Power’. Film and video industry can not satisfy the conditions of tax credits, wich is made originally for the manufacturing industry. Currently the rate of tax credit for film and video company is 3%(mid-sized company 7%, small business 10%). The deadline of tax credit is 31.12.2022. This article proposes to double the rate: 6%(mid-sized company 14%, small business 20%) and to extend the deadline: 31.12.2025. The author proposes also to include the ‘OTT’ company to the tax credit subject. OTT is getting more competing with traditional film and video companies. Further- more the foreign tax credit must be deregulated: the deduction limit should be eliminated by disallowing of direct and indirect expense deduction. Also R&D tax credit must be allowed without material requirements: and affilli- ated research institute and dedicated departments etc. Through all these suggestions it is highly expected that Korean film and video industry will grow one step further than before.

Aim/purpose – The study delves into the creation and the experience of interactive children’s narratives based on poetry, examining the emerging role of artificial intelli- gence (AI) as a collaborative partner in storytelling for children. The research questions are: 1) What are the experiences of readers, specifically children’s guardians, with inter- active narratives based on children’s poetry?; 2) How do children’s guardians experience inter-active stories co-generated in real-time through conversations with artificial intelli- gence?; 3) Is it feasible to create a satisfying narrative for children from a specific set of images through the use of AI technology? Design/methodology/approach – This paper synthesizes findings from the following studies: a) Qualitative analysis of interactive narratives based on Stanisław Jachowicz’s poems, involving a comprehensive online questionnaire survey, with 80 respondents participating in the latest study; b) An evaluative study focused on real-time interactions with AI-generated interactive narratives based on Stanisław Jachowicz’s poems. This involved 12 participants who provided detailed feedback on their experience; c) An autoethnographic study exploring the creative process of generating children’s narratives from a set of images using AI. Findings – The findings from the exploratory studies suggested that interactive narra- tives based on poetry would be beneficial for education and the promotion of reading. The interactive narrative can be simply designed (simple mechanics, simple options) and nevertheless, it can evoke a positive user experience. The constructs of telepresence and player agency apply not only to the interactive narrative and the poem that serves as its foundation. The evaluation of the interactive narrative generated by ChatGPT was posi- tive, both as real-time interactive storytelling experienced by the reader with AI and as the interactive narrative created based on a set of images. In the process of generating interactive narratives during real-time interactions, ensuring safety, reliability, and trust- worthiness for children is a crucial aspect. Research implications/limitations – The research suggests that educational organiza- tions can benefit from introducing interactive narratives based on poetry into children’s curricula. Furthermore, artificial intelligence can be effectively utilized in creating such content, both in the form of traditional interactive narratives presented to children and in real-time interactions with AI. However, it is also important for organizations to develop tools for monitoring children’s safety. Originality/value/contribution – This paper sheds light on the reader’s experience with interactive narratives based on poetry and highlights the transformative impact of AI on reading and writing in children’s literature, emphasizing how significantly the roles of writers and readers have changed with the introduction of AI. The swift evolution of artificial intelligence raises concerns that vital literary participants – including authors, researchers, publishers, and readers – may not grasp the essential skills and knowledge for utilizing AI. This paper can be helpful for these groups as it provides clues on how to produce good prompts, leading to the creation of children’s narratives. Keywords: art studies, Human-Centered AI, interactive narrative, game development, user experience. JEL Classification: Z11, L86, M31.

Since its beginnings, film and television industries have profited from their fleet-footed ability to produce anytime, anywhere. Media cities have favored these film and television industries as part of their own development strategies for at least the past 20 years. In 2020, the synergy between media cities and their favored industries came to a halt and film and television workers were caught in the middle. This chapter begins with a short history of urban development and the film industry, a relationship that predates the existence of Hollywood and continues today in technocracies around the world. Inside this frame for a media city, the chapter sketches the work of making places in production. Namely, locational scouts are charged with the work of finding the perfect places to fit a script and a budget. These routine decisions provide a lens into how media workers negotiate the local and the global, as well as place and placelessness, in a media city. These routines have been upended by Covid-19, which begs a question as to how pandemic production impacts the coziness between urban development and global media industries.

As an emerging technology, VR technology will have a great impact on the development of film and television industry in the future. VR technology will provide new ideas for film creation and is regarded as an innovative technology to change the traditional film creation methods. Under the new situation, VR technology will be an important node of new technology subverting the whole film and television industry. By discussing the far-reaching impact of VR technology on the whole film industry and the construction of personalized film roles based on VR technology, it will have great scientific value and practical significance.

With the development of information technology and new media technology, the Internet has had a profound impact on the development of the film and television industry. Mainstream media, new media, Internet companies, cultural media companies, etc. are all eager to try, and the forces from the state, capital, media, and users are intertwined. The film and television field is the behavioral practice field of various stakeholders. Capital stimulates the industrial functions of the film and television industry from the perspective of commercial interests. The interests of users are being redefined in the context of the Internet, and the film and television industry actively promotes the creative process from its own interests. In order to analyze the influence and motivation of the Internet on the operation mode and creation research of the film and television media industry, this paper relied on Bourdieu’s field theory to explore the forces and interests that promote the development of the film and television media industry from different aspects. This provided development suggestions for the construction of a new pattern combining the Internet and film media. The integration of film and television and the Internet has become the new normal in the film and television industry. At present, people’s online entertainment time at home has increased significantly, which has led to a rapid increase in the number of movie viewers. The introduction of Internet technology into the film industry media operation model can improve the operation efficiency of enterprises by 6.5%.