Abstract

The evolution of recording technology for real images in 360º video has fueled adoption by some media, particularly from 2015. It is an emerging and innovative trend that offers the viewer the possibility of approaching an event with great realism. In this article we propose a model to conduct content analysis based on feature identification and basic characterization. Our model identifies which elements are influential in generating a sense of being in a represented place. The objective is to identify the factors involved in the construction of a story that generates a sensation of immersion in the reality that is being represented.

Abstract

High technology has been one of the main assets used by the media around the world to stand out from the masses and reach an increasingly fragmented audience, including drone journalism, artificial intelligence, and virtual reality. In this regard, the mid-2010s saw a whole phase of experimentation that began with so-called immersive journalism, a new way of producing news content using virtual reality and 360° video, which introduced various novelties in the way stories are both told and consumed/watched. Among these, 360° real-image videos are the most common form, which can be partly explained by factors such as time and cost, although it is also possible to find completely computer-generated (CG) nonfiction experiences. Legacy media such as The New York Times, El País, or the BBC have been experimenting with the possibilities of this immersive storytelling, but what about digital native media? The aim of this paper is to explore the use of 360° video by Spanish digital native media in order to observe the degree of development of immersive storytelling, as well as the quality of the pieces available more than 5 years after the start of this phenomenon known as immersive journalism. For this purpose, a content analysis of 360° videos published during the period 2015-2019 by El español, eldiario.es, El independiente, and El HuffPost has been carried out. The study of these particular cases reveals the absence of a narrative strategy aligned with the immersive format; in general, these are simple videos that provide little added value compared with the conventional format. Furthermore, the results show that the history of immersive journalism by these cybermedia has been limited in terms of both volume and time, with little guarantee that it will continue into the future.

Abstract

News media organizations have been experimenting with immersive journalism formats in recent years. The search for new ways to tell stories is driven by technology and has given rise to new –and not so new– forms of expression. The initial enthusiasm has dissipated over the years, so the uncertainty of the future of immersive journalism justifies the study of the most potential ways of using this technology in journalism. This research was carried out in Finland and Spain, and it is based on a textual narrative analysis and a reception study comparing the online article and 360º video versions of the report Fukushima: Contaminated Lives from El país. The results identify the affordances of both formats and confirm that immersive journalism has the capacity to generate a greater emotional effect based on a greater perception of presence, realism and involvement, also having a positive impact on increasing interest and changing opinions on related topics. The narration of online article seems to work better only if there is large amount of information that has to be understood and contextualized. However, authors claim that, instead of an essential break, there are similarities between both formats, which are situated on the same continuum of emotionality and rationality. These findings also indicate that immersive storytelling can be an important part of the emotional or affective turn in contemporary journalism. The sensation of presence and empathy towards distant and complex realities emerge as the main distinguishing values of the kind of immersive journalism that Fukushima: Contaminated lives represents.