This is an area in which we are still taking the first steps, but these moves have already raised interesting narratological challenges. Technological development allows us not only to have the sensation of being elsewhere but also to interact with the storytelling elements.
In this article, the author reviews the steps that have been taken up to the present time in the use of these platforms for news. She revises as well the reflections carried out by disciplines connected with narrative construction on the challenges of this new way of factual storytelling.
The implications of being inside the scene of the action and being able to interact with it means rethinking the conventions of audiovisual editing and the visual perspective of the audience, as well as the relevance of the three-dimensional nature of real sound and the freedom to act inside the story without modifying the real course of the events.
Introduction The journalistic story is always a child of its time, and it is inserted in the narrative ways of its epoch. It is, therefore, a linguistic and narrative activity that inherits from a tradition, which it then molds to make it suitable for its circumstances Tuchman, ; Eason, ; Roeh and Ashley, ; Van Dijk, The journalistic form, that is to say, the way in which news is presented, is as relevant as its content Nerone and Barnhurst, Although the formats serve to facilitate the work of the newsrooms Gomis,the need to find new forms has also been a constant.
These days, this exploration goes hand in hand with immersive technologies. The influence of the rhetoric of the videogame Darley, ; Jenkins, and technologies like virtual reality VR and augmented reality AR is obvious in the transformation of non-fictional narrative.
The change goes beyond the simple adoption of some techniques or formats because it involves converting the narrative into an agency experience.
This article will cover the steps that have been taken to get to the present moment and will provide elements for a reflection on the nature of narrative immersion. In the first part, we will deal with the concept of immersion in journalism as a synonym of in-depth investigation and as a digital form, as well as looking at the pioneering experiments with immersive technologies.
In the second part, we briefly review the origins and characteristics of the conventional journalistic narrative, which constitute a barrier to immersion to concentrate on the analysis of the elements that have a bearing on the storytelling grammar of this new language with the aim of widening the reflection on the paths to and possibilities of immersive journalism.
On Immersion in Journalism Immersion As a Reporting Technique In journalism, the concept of immersion has been traditionally understood as a researching technique based on the premise that the reporter must spend long time learning about a reality before it can be narrated.
Thus, journalists need to live for a while with the social reality they want to capture. Early precedents of this trend are the muckrakers at the end of nineteenth century and the beginning of the twentieth century.
Although the term was unknown to its practitioners, immersion journalism is nowadays assimilated to investigative journalism. Immersion is a part of the job, as Pulitzer Prize-winning reporter Edward Humes admits: Immersion turns out to be a fundamental condition for good reporting, since the journalist needs to earn the confidence of individuals involved in the story, so they behave naturally, just as they would to a coworker or a relative Sims, In the majority of cases, the journalists do not hide their status as informants.
The involvement and the conditions of temporary coexistence are not always the same. A paradigmatic case is that of reporter Hunter S. Thompson who often became a participant in the situations he wrote about.
The initial part of the extended cohabitation is a process of increasing the trust between the people involved in the story and the journalist. Nevertheless, in some cases, the journalist could opt to hide his identity when dealing with certain themes.
Wallraff had to live a hidden life and with official protection because of threats against his life. This method of achieving understanding has parallels with those used in ethnography, which bases its study on a social reality through immersion in its life, routines, and rituals.It will do so in terms of the point of view, narrative voice as well as the structure of the narrative.
Furthermore, the setting of the story will be another focus which exploits the generic convention which reflects the social anxiety behind the story at the time.
The use of first person narrative perspective is engaging and yet limits readers from knowing what is going on inside Janie's head in the scene. Second Person Narrative Perspective The second person narrative perspective is a far less commonly employed narrative technique. Affect is a mental state, separate from belief and desire, the affect program system as it is called.
Affect is the body acting on itself, free of cognition and emotion on the one hand, the quality of the stimulus, or stressor, on the other. Page iii. PREFACE. IN the month of August, , I attended an antislavery convention in Nantucket, at which it was my happiness to become acquainted with FREDERICK DOUGLASS, the writer of the following Narrative.
A narrative contains several elements, such characterization, plot and setting, that all work together to construct the narrative’s theme.
The theme is the central meaning of a narrative.
It tells the reader what the work is about. The theme is expressed through what the . The Editor's Blog is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by .