政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/72584
English  |  正體中文  |  简体中文  |  Post-Print筆數 : 27 |  全文筆數/總筆數 : 113451/144438 (79%)
造訪人次 : 51290413      線上人數 : 882
RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.
搜尋範圍 查詢小技巧：
  • 您可在西文檢索詞彙前後加上"雙引號"，以獲取較精準的檢索結果
  • 若欲以作者姓名搜尋，建議至進階搜尋限定作者欄位，可獲得較完整資料
    •  進階搜尋


    請使用永久網址來引用或連結此文件: https://nccur.lib.nccu.edu.tw/handle/140.119/72584


    題名: 觀影沉浸體驗之互動系統開發與實驗
    Development and Experiment of the Interactive System for Immersive Movie Watching Experience
    作者: 劉堯琪
    Liu, Yao Chi
    貢獻者: 李蔡彥
    陳儒修
    Li, Tsai Yen
    Chen, Ru Shou
    劉堯琪
    Liu, Yao Chi
    關鍵詞: 電影空間
    沉浸體驗
    人機互動
    Movie Space
    Immersive Experience
    Human-computer Interaction
    日期: 2014
    上傳時間: 2015-01-05 11:27:40 (UTC+8)
    摘要: 隨著數位資訊科技蓬勃發展，帶來許多閱聽的變革與創新。以電影來說，單一的視覺和聽覺效果已經無法滿足觀眾，觀看可能性也越趨多樣化，同時，在設備的進步下，選擇在家裡看電影的人也不在少數，換句話說，在家裡使用小螢幕看電影雖不至於完全取代電影院觀影，卻已逐漸成為電影觀眾的主流觀影方式。另外，媒體的創新和載具的多樣化早已顛覆大眾閱聽習慣，因此我們思考，電影本身是否能結合「互動」特質，使得在家觀影也能享有如電影院般的沉浸體驗。
    本研究以每個家庭幾乎會有的配備—桌上型電腦加上小型視訊攝影機，利用電腦視覺技術偵測觀者位置，觀者藉著身體的移動去控制影片觀看視角，並配合適切的敘事內容，誘發觀者想「看」的好奇心。我們希望讓影像的敘事性融合數位空間的瀏覽，更貼近於直覺的本能去決定故事的片段，使觀者全身感官沉浸於敘事的世界，提升使用者對故事的認同。
    本系統招募十位使用者進行體驗，透過問卷、訪談和影像側錄以檢測研究目標的成效。實驗結果顯示大部分使用者皆認同此系統的設計，且認為是有趣的，有助益於進入沉浸狀態，但在許多細節上仍有改進的空間，我們相信本研究提供了數位互動敘事上一個新的方向，開啟導演與觀眾之間不同的對話方式。本文最後將建議與未來方向彙整做為後續研究參考。
    With the digital contents technology emerging, more and more innovations about reading and listening are happening. In the film, simple visual and auditory effects have not been able to satisfy the audience. Besides, people go to see a movie not only in the theater but also at home, so we start to thinking of whether the movie could incorporate interactivity such that watching movie at home could be the same as or even better than in theater.
    Computer with a webcam is the main equipment in our system. We use computer vision technology to detect the position of the viewer, and the viewer moves his body to control the viewing angle of the video. We want to combine narrative and digital space to allow a viewer to determine the plot of the story in an intuitive way, such that this interactive mode can enhance the viewer’s immersive experience and allow the viewer enjoying the story.
    The system has been implemented, and we recruited ten users to participate in the experiment. Through questionnaires, interviews, and recorded video analysis, we get feedbacks which help us understand the advantages and disadvantages of our system. The results show that most users agreed with the design of this system and considered it interesting except for some implementation details. We believe that our study offers a new way for digital interactive narrative, which opens a different way of communication between director and audience. At the end, we propose some suggestions for future improvement.
    參考文獻: Burch, N. (1980). Theory Of Film Practice. Princeton: Princeton Univ Press.
    Csikszentmihalyi, M. (1975). Beyond Boredom and Anxiety: Experiencing Flow in Work and Play. San Francisco: Jossey-Bass.
    CsikszentmihalyiM. (1990). Flow: The Psychology of Optimal Experience. New York: Harper & Row.
    Daniels, D. (2000). Strategies of Interactivity. In R. Frieling, & D. Daniels (Ed.), Media Art Interaction (pp. 170-198). Vienna and New York: Springer-Verlag.
    Forlines, C. (2008). Content aware video presentation on high-resolution displays. In Proceedings of the Working Conference on Advanced Visual Interfaces, (pp. 57-64).
    Gibson, J. J. (1966). The Senses Considered as Perceptual Systems. Boston: Houghton Mifflin Co.
    Hoffman, D. L., & Novak, T. P. (1996). Marketing in Hypermedia Computer-Mediated Environments: Conceptual Foundations. Journal of Marketing, 60(3), pp. 50-68.
    Hoffman, D. L., & Novak, T. P. (1997). Measuring the Flow Experience Among Web Users. Palo Alto: Interval Research Corporation.
    Jeng, T. (2002). Social and Interaction Issues in a Human-Centered Reactive Environment. In Proceedings of 7th CAADRIA (pp. 285-292). Cyberjaya, Malaysia: Multimedia University Malaysia.
    Johnson, D., & Wiles, J. (2003). Effective Affective User Interface Design in Games. Journal of Ergonomics(46), pp. 1332-1345.
    Manovich, L. (1995). An Archeology of a Computer Screen. Kunstforum International 132, 124-135.
    Manovich, L. (2001). The Language of New Media. Cambridge: The MIT Press.
    Parkinson, D. (2012). 100 Ideas that Changed Film. London: Laurence King Publishing.
    Persson, P. (1998). A Comparative Study of Digital and Cinematic Space with Special Focus on Navigational Issues. In N. Dahlback, Exploring Navigation: Towards a Framework for Design and Evaluation of Navigation in Electronic Space (pp. 173-188). Kista, Sweden: Swedish Institute of Computer Science.
    Regenbrecht, H. T., & Schubert, T. W. (1997). Measuring Presence in Virtual Environments. HCI International ,97. San Francisco, CA.
    SchmittHerbertBernd. (1999). Experiential Marketing. New York: The Free Press.
    Trevino, L. K., & Webster, J. (1992). Flow in Computer-Mediated Communication Electronic Mail and Voice Mail Evaluation and Impacts. Communication Research, 19(5), pp. 539-573.
    Webster, J., Trevino, K. L., & Ryan, L. (1993). The Dimensionality and Correlates of Flow in Human-Computer Interacitons. Computers in Human Behavior, 9(4), pp. 411-426.
    Witmer, B. G., & Singer, M. J. (1998). Measuring presence in virtual environments: A presence questionnaire. Presence: Telreeoperators and Virtual Environments 7 (pp. 225-240). Cambridge: The MIT Press.
    王俊傑。(2004)。《漫遊者-國際數位藝術大展》。台北：國立台灣美術館。
    李顯杰。(1999)。《當代敘事學與電影敘事理論》。華中師大學報(第六期)，頁 115。
    莊輝煌。(1981)。《從理論與實務探討都市景觀之調查評估與發展》。成功大學建築研究所碩士學位論文。
    陳永賢。(2005)。《互動式媒體藝術創作觀念之探討》。藝術學報(第七十七期)，頁 55。
    曾澤民。(2013)。《沉浸式經驗的數位藝術作品之設計要素》。國立中山大學資訊
    管理學系碩士學位論文。
    蔡佩玲。(2011)。《數位閱讀情境與沉浸經驗之研究》。國立台灣藝術大學
    圖文傳播藝術學系碩士學位論文。
    蕭伊雯。(2006)。《觀賞電影的動機與行為-電影院與在家觀影經驗之比較》。國立交通大學管理科學所碩士學位論文。
    蕭雨青、嚴貞。(2005)。《數位媒體藝術互動介面初探》。設計研究(第五期)，頁 18-25。
    戴若葳。(2013)。《從畫內外空間關係看畫外空間的敘事作用》。中國傳媒大學電影學院。
    蘇志昇。(2011)。《腦•網路•Myself》。臺北市：秀威資訊科技。
    Peggy。(2010)。《使用者介面沿革：從CLI、GUI到NUI》。檢自http://blog.uns.org.tw/node/211/
    《16：9不正宗？電影畫面比例是怎樣轉化的》。(2009)。檢自 PConline:
    http://diy.pconline.com.cn/display/study_screen/0910/1868386.html
    描述: 碩士
    國立政治大學
    數位內容碩士學位學程
    100462001
    103
    資料來源: http://thesis.lib.nccu.edu.tw/record/#G1004620012
    資料類型: thesis
    顯示於類別:[數位內容碩士學位學程] 學位論文

    文件中的檔案:

    檔案 大小格式瀏覽次數
    001201.pdf4149KbAdobe PDF2211檢視/開啟


    在政大典藏中所有的資料項目都受到原著作權保護.


    社群 sharing

    著作權政策宣告 Copyright Announcement
    1.本網站之數位內容為國立政治大學所收錄之機構典藏，無償提供學術研究與公眾教育等公益性使用，惟仍請適度，合理使用本網站之內容，以尊重著作權人之權益。商業上之利用，則請先取得著作權人之授權。
    The digital content of this website is part of National Chengchi University Institutional Repository. It provides free access to academic research and public education for non-commercial use. Please utilize it in a proper and reasonable manner and respect the rights of copyright owners. For commercial use, please obtain authorization from the copyright owner in advance.

    2.本網站之製作，已盡力防止侵害著作權人之權益，如仍發現本網站之數位內容有侵害著作權人權益情事者，請權利人通知本網站維護人員(nccur@nccu.edu.tw)，維護人員將立即採取移除該數位著作等補救措施。
    NCCU Institutional Repository is made to protect the interests of copyright owners. If you believe that any material on the website infringes copyright, please contact our staff(nccur@nccu.edu.tw). We will remove the work from the repository and investigate your claim.
    DSpace Software Copyright © 2002-2004  MIT &  Hewlett-Packard  /   Enhanced by   NTU Library IR team Copyright ©   - 回饋