An Indefinite Life

RESEARCH STATEMENT 

Introduction

An Indefinite life is a 3D 360˚ or Cinematic Virtual Reality (CVR) narrative short film. This project formed the creative component of my Doctor of Creative Arts, awarded in 2024. The video images were captured with both conventional 2D cinema cameras and a 360˚ camera. The project was finished in a 3D 360˚ format for viewing on a Head Mounted Display (HMD). 

Synopsis

An asylum seeker, incarcerated on an offshore island, commences a hunger strike to protest his indefinite detention. Weak with hunger, he experiences delusions and imagines a life in Australia. 

Background 

An Indefinite Life is the outcome of practice-led research in an emerging field of production, which required experimentation and new methodologies. I was interested primarily in live-action storytelling in 360˚, as opposed to animated or interactive VR forms, and, fortuitously, 360˚ cameras became increasingly affordable and higher quality as my project developed. Research questions were initially formed as a challenge to the pre-supposition that cinematic narratives did not work in VR, as participation and interactivity were central to the experience of virtual environments (Lanier 2017). While this might be true for traditional, computer-generated VR, Dooley (2021) observes that, in CVR, the viewer can observe or contemplate the narrative as they might in a theatre or cinema, as it is a linear medium in which interactivity is limited to looking around the environment. 

To address questions of how to make CVR narratives and to initiate the project’s screenplay, I asked what kinds of stories might suit the medium? As a viewer, my first impressions of CVR were always of being transported into a space; “presence” is integral to the experience of virtual environments. Analogous to the emergence of cinema, early CVR projects were often “actualities”, such as a rollercoaster ride, or short documentaries, such as the affective Clouds Over Sidra (Arora and Pousman 2015) in which the experience of a place or environment was fundamental. Drawing on the “story-building power of landscapes” (Wenders 2001, 13), I initially imagined where my story might be set. These first ideas were often omnidirectionally cinematic environments, such as a grand library reading room, a lake at dusk with birds overhead; rich places that could sustain a story. It quickly became evident, however, that spaces needed characters and events.  

CVR often explores visions or myth, such as in Lynette Wallworth’s Collisions (2016). Ideas of the afterlife and memory were central to Remember (Kacevski and Simard 2016) and Dear Angelica (Unseld 2017). I integrated these tropes with a contemporary concern, namely the offshore detention of asylum seekers, and a story idea evolved: “Man experiences dreams while on a hunger strike.” A “Doctor” character was then created, who befriends the asylum seeker (named ZPR 359, a boat name) while trying to keep him alive. Two story worlds were developed: the ”real” detention centre and the ”fantasy” of an imagined Sydney - hallucinations caused by ZPR 359’s hunger strike. 

The slow cinema genre had considerable influence on my story and staging of scenes. Slow cinema is a politicised genre in opposition to the mainstream ‘cinema of action’ (Jaffe 2015, iv) with a focus on the everyday; it predominantly uses real locations and realistic scenarios. Slow cinema has a gentle pace, and often uses silence to express disempowerment or resistance (Gorfinkel 2016). A strong point of reference was auteur Tsai Ming-liang (2019), creator of the CVR feature The Deserted (2017), who noted: “Most VR is just so busy. I wanted to create a space that people enter and then begin to calm down, when they realise that they don’t, in fact, need to see everything”.  

Slow cinema films often use long takes which accentuate the experience of lived time. In CVR, moving or relocating between spaces, which in narratives indicate a new scene, can be jarring, as by dislocating then relocating the viewer it disrupts their “presence”. Some early CVR shorts such as The Invisible Man (Keijzer 2016) are a single shot, and CVR narratives largely avoid cutting within scenes, as in Gina Kim’s Bloodless (2017) and the recent Tales of the March (Casertano 2023). The screenplay drafting became one of reduction, with fewer, longer scenes and less dialogue, while increasing information for staging and scene transitions. 

Slow cinema also influenced my choice of settings for the fantasy world. These were a beach, walkways by the ocean and the harbour, and the poolside deck outside the Doctor’s home. All these contained water as a background, referencing the island detention centre, and were liminal, border spaces, further suggesting the exclusion of asylum seekers. 

Contribution and Significance 

CVR is often assumed to be 360˚ video, recorded with an omnidirectional camera capturing live-action images. At the time of production there was little exploration of CVR form and space, or how this is experienced when viewed in an HMD. An Indefinite Life’s form was the outcome of several challenges: firstly, the desire to experiment with the 360˚ space, secondly the need to delineate the fantasy and real worlds, and thirdly the difficulty in scripting and finding “real” locations for detention centre scenes when shooting with an all-seeing 360˚ camera.  

It is a common practice in CVR for elements to be removed or parts of the 360˚ image to be blurred in post-production using visual effects. As I lacked experience with VFX and found that masking part of the background reduced viewer presence, I chose not to follow this path. I was influenced by 360˚ videos such as Summation of Force (Autio, Bate, and Parke 2017) and Potato Dreams (Hurley 2017), which used multiple 2D images within the 360 ̊ space. This approach created dream-like but immersive story worlds that played with time and explored cinematic depth. The opening of The Sun Ladies (Tricart and Stephen 2017) creates a “walled space” akin to an art gallery. Similarly, multi-channel artworks such as Isaac Julien’s suspended screens in Ten Thousand Waves (2010) or the “panopticon” effect of Bow Echo (Hazara 2019) led me to consider the 360˚ environment as a gallery space with many possible configurations, leading to my cinematic form for An Indefinite Life. 

In production, I shot scripted detention centre scenes with a conventional 2D camera. This meant I could “frame out” or limit the background, making the location shooting easier. The approach also clearly distinguished the two worlds, the 2D ”real” from the ”fantasy” scenes, which were recorded in one extended shot using a 3D 360˚ camera. Some detention centre scenes were shot very minimally, with one or two shots, others used a “Hollywood continuity” approach and a variety of shot sizes and camera angles. Pacing of the action was unhurried, so the viewer could feel the stasis that ZPR 359 feels while in detention.  

I also captured many “contextual” or what I called “textural” shots. These included background figures, personal belongings in a tent and island images like palm trees, expanses of ocean and sky. In the extended edit process, I placed the shots covering the dialogue and interactions between ZPR 359 and Doctor in the centre of the 360˚ space, then surrounded them (including the up/down areas) with these contextual images. While the central storyline had continuous action, I used time-lapse and slow motion for the contextual images to denote the indefinite nature of detention. The combined methodology creates an oppressive, claustrophobic environment; the subjects are confined by the frames, inert and overwhelmed by their surroundings. In comparison, the 360˚ fantasy scenes are expansive and open spaces, in which ZPR 359 speaks and moves freely. For these scenes, the editing process was far simpler as it was mainly a process of selection then “painting out” the 360˚ camera’s tripod (and operator, crouched underneath) in the final stages of editing. 

My research project utilises an innovative approach which creates new opportunities for narrative storytelling in 360˚ spaces. My consideration of the 360˚ space and viewer experience led to story content which required the experimentation, iteration and application of a new hybrid form. To the best of my knowledge, no other published CVR works have alternately used a 2D continuity editing production methodology and 360˚ capture to create discrete story worlds.  

An Indefinite Life is currently being submitted to international film festivals. A 2D version of this film, titled ZPR 359, screened at festivals including Canada’s International Migration & Environmental Film Festival in 2024 and won second prize at the Inspiring Change Short Film competition in 2023.  

PEER REVIEW 1 

Dr Branagan's An Indefinite Life contributes to Cinematic Virtual Reality (CVR) through its innovative hybrid approach combining 2D and 360° footage. ​The film explores an asylum seeker's experience in detention while experimenting with new media methodologies to address socially relevant themes.​ The methodology distinguishing the detention centre scenes (2D) from the protagonist's fantasy sequences (360°) demonstrates thoughtful experimentation where ​the format​ directly serves content.

The influence of slow cinema with the 360 scenes effectively allows viewers to experience the stasis of indefinite detention. The conceptualisation of utilising a gallery-type environment for multiple 2D images and video around the 360° space is particularly innovative, offering new possibilities for spatial storytelling and a solution to blending 2D footage into a 360° environment. This approach enables more artistic expression rather than a traditional literal narrative. While this hybrid approach is innovative, the ”moments-in-time” short 2D scenes could have leaned more into the slow cinema tradition as I did not get the sense of immersion and presence as a viewer within the 360 space.

The research statement articulates a clear research question in challenging assumptions about cinematic narratives in VR and exploring storytelling approaches suited to the medium. Branagan's methodological choices effectively support the film's thematic intentions while addressing practical production challenges of the medium's unique affordances and limitations.

​​The simple storyline and short scenes at pivotal moments could have been more fully developed from a storytelling viewpoint.​ As a viewer, I had to suspend my disbelief as the protagonist's physical form did not reflect someone on a prolonged hunger strike to the point of needing medical intervention. While the script and acting components have room for improvement, the methodological approach and technological experimentation are where the work's value as practice-as-research truly lies.

​​The hybrid methodology represents innovation, with Branagan creating distinct story worlds through different technical approaches and ​contributes to understanding​ how spatial characteristics in CVR can reinforce thematic content, particularly how confined 2D frames within a 360° environment can create the claustrophobic effect, reflecting the experience of detention, contrasted with expansive 360° scenes representing freedom.​

In particular, Branagan's approach to scripting and production to post-production for hybrid 2D/360° approaches provides valuable insights for other practitioners working in CVR narrative.

​​It is​ worth noting that the field is still developing a shared vocabulary—distinctions between terms like CVR, 360° film, and hybrid immersive media remain fluid and are worth further collective discussion. Branagan's work contributes to this evolving discussion about formats and approaches.

PEER REVIEW 2 

Which aspects of the submission are of interest/relevance and why?

The CVR work, titled An Indefinite Life (AIL), focuses on an asylum seeker (ZPR). ZPR undertakes a hunger strike in protest against conditions in detention. The CVR work moves between the detained experience of ZPR and (imagined?) visions of Australia: friendships, a welcome on the beach, prayer. The CVR film both remediates existing cinematic methodologies, namely continuity filming and editing principles, and applies research into CVR to an experimental use of the 360˚ screen.

The use of CVR is still an emerging proposition and to this end the submission is an interesting, albeit flawed case study. The accompanying research statement frames the work within the slow cinema genre. The research statement highlights previous CVR projects such as Collisions (Wallworth, 2016), Clouds Over Sidra (Arora and Pousman 2015), Remember (Kacevski and Simard 2016), Dear Angelica (Unseld 2017) and The Deserted (Tsai Ming-liang 2017) as points of inspiration. 

While Branagan notes An Indefinite Life’s was the outcome of several challenges (firstly, the desire to experiment with the 360˚ space, secondly the need to delineate the fantasy and real worlds, and thirdly the difficulty in scripting and finding “real” locations for detention centre scenes when shooting with an all-seeing 360˚ camera), there is little critical analysis of the resulting work. More nuanced and critical assessment of the end work (and the processes used to produce the work) should be explored. This could be of great benefit to other film practitioners looking to explore 360 ˚ space. 

Branagan claims the following innovation: “no other published CVR works have alternately used a 2D continuity editing production methodology and 360˚ capture to create discrete story worlds.” There is a significant body of VR work has used a combination of 2D video/ images designed into 360 space. Branagan highlights the influence of 360˚ videos such as Summation of Force (Autio, Bate, and Parke 2017) and Potato Dreams (Hurley 2017) which used multiple 2D images within the 360 ̊ space. There are other examples, e.g. The Humanity Bureau (King 2018), in docu-drama CVR narratives films such as The Man Who Couldn't Leave (Chen 2022) or Peter Hegedus’ Sorella’s Story (2022), and The Voyage of Arka Kinari 360 (Najera and Wright 2023). All incorporate adapted 2D footage into 360˚ space and/or use continuity editing techniques. And, thematically it seems important to acknowledge VR Free (Tangshir 2019), an immersive exploration of the nature of detention spaces in Italy. 

I would like to note at this point that I am no CVR expert but a quick review of the immersive program at Venice, IDFA’s DocLab and some of the Melbourne International Film Festival’s XR program offers a range of other work that have used 2D continuity edition and 360 capture to create their story worlds. 

Does the submission live up to its potential?

A review of the CVR video output is recommended to address some of the technical issues that were present on the review copy I viewed. 

Further literature (and CVR filmography) review is required and a more precise claim around innovation could then be made with this literature and creative practice in mind. Updating the research statement considering this additional literature review could provide further depth and insight to the creative process and the resulting outcome. 

Offering a more detailed self-reflexive critique of the processes and resulting outcome could aid other researchers-practitioners. 

How does the submission expose practice as research?

The author notes “Research questions were initially formed as a challenge to the pre-supposition that cinematic narratives did not work in VR, as participation and interactivity were central to the experience of virtual environments (Lanier 2017).” And goes on to ask, “what kinds of stories might suit the (CVR) medium?” 

RESPONSE TO PEER REVIEWS: REVISED RESEARCH STATEMENT

Introduction

An Indefinite life is a 360˚ Cinematic Virtual Reality (CVR) narrative short film, the creative component of my Doctor of Creative Arts, awarded in 2024. The video images were captured with both conventional 2D cinema cameras and a 360˚ camera. The project was finished in a 3D 360˚ format for viewing on a Head Mounted Display (HMD).

Synopsis

An asylum seeker, incarcerated on an offshore island, commences a hunger strike to protest his indefinite detention. Weak with hunger, he experiences delusions and imagines a life in Australia.

Background

An Indefinite Life is the outcome of practice-led research in the emerging field of live-action CVR production, which required experimentation and new methodologies. Research questions were initially designed to challenge the pre-supposition that cinematic narratives did not work in VR, with participation and interactivity being central to the experience of virtual environments (Lanier 2017). While this might be true for traditional, computer-generated VR, Dooley (2021) noted that in CVR the viewer can observe the narrative as they might in a theatre or cinema, as it is a linear medium in which interactivity is limited to looking around the environment.

To address questions of how to write CVR narratives, I asked: What kinds of stories would suit the medium? As a viewer, my first impressions of CVR were always of being transported into, and being in, a space: “presence” is integral to the experience of virtual environments (Slater 2009). Analogous to the emergence of cinema, early CVR projects were often “actualities”: a rollercoaster ride or short documentaries, such as Clouds Over Sidra (Arora and Pousman 2015), in which the experience of a place was fundamental. Drawing on the “story-building power of landscapes” (Wenders 2001, 13), I initially imagined where my story might be set. These first ideas were often omnidirectionally cinematic environments, such as a lake, at dusk, with birds overhead. It quickly became evident, however, that spaces needed characters and events.

CVR often explores dreams, memory or mythology, such as in Lynette Wallworth’s Collisions (2016) or Dear Angelica (Unseld 2017). I integrated these tropes with a contemporary concern, namely the offshore detention of asylum seekers, and a story idea ensued: “Man experiences dreams while on a hunger strike.” A “Doctor” character was then created. They befriend the asylum seeker (named ZPR 359, a boat name) while trying to keep him alive. Two story worlds evolved: the “real” detention centre and the “fantasy” of an imagined Sydney - hallucinations caused by ZPR 359’s hunger strike.

The slow cinema genre has influenced story development and staging of 360˚ scenes. Slow cinema is a politicised genre, in opposition to the mainstream “cinema of action” (Jaffe 2015, iv). Focusing on the everyday, it often uses silence to express disempowerment or resistance. Slow cinema’s typical use of real locations influenced the choice of settings for the fantasy world, such as a beach or the poolside deck outside the Doctor’s home. These also featured water as a background, referencing the island detention centre, and, as liminal border spaces, they further suggest the exclusion of asylum seekers. Slow cinema often employs long takes which accentuate the experience of lived time. In CVR, moving between spaces, which in narratives indicates a new scene, can be jarring, and the viewer then requires time to adjust to the new environment (Tricart 2017). During my filming, scenes were staged and paced to allow for viewer orientation. Some early CVR shorts, such as The Invisible Man (Keijzer 2016), are a single shot and CVR scenes are often a single, extended take, as in the recent Tales of the March (Casertano 2023). The screenplay drafting became a process of reduction, with fewer, longer scenes and less dialogue. Tsai Ming-liang (2019), creator of the CVR feature The Deserted (2017), notes: ”Most VR is just so busy. I wanted to create a space that people enter and then begin to calm down, when they realise that they don’t, in fact, need to see everything”.

Contribution and Significance

An Indefinite Life’s form ensued from several challenges: the desire to experiment with the 360˚ space, the need to delineate the fantasy and real worlds, the limitations of a micro-budget and the difficulty in finding credible locations for detention centre scenes when shooting with an all-seeing 360˚ camera. It is a common practice in CVR for elements to be removed or parts of the image to be blurred in post-production, but I lacked experience with VFX and found that masking part of the background reduced viewer presence. CVR is often assumed to be 360˚ video, recorded with an omnidirectional camera capturing live action. I was influenced however by CVR such as Summation of Force (Autio, Bate and Parke 2017) which uses multiple 2D video images within the 360˚ space, creating a dream-like, immersive story world, or the opening of The Sun Ladies (Tricart and Stephen 2017), which uses 2D video to create a “walled space” akin to an art gallery. These projects, alongside multi-channel artworks such as Bow Echo (Hazara 2019), led me to consider the 360˚ environment as a space with many possible configurations, leading to the cinematic form for An Indefinite Life.

In casting, I sought actors with theatre training for their spatial awareness (Pope et al. 2017) and ability to remain in character during extended takes. For ZPR 359 I wanted a relatively recent immigrant to Australia, which limited the pool of talent. Reza Momenzada auditioned well, had theatre experience and was also a refugee, which helped his performance. Reza was also slim, and although reviewer one was not convinced, this, along with makeup, helped sell the hunger strike without Reza having to starve himself.

In production, detention centre scenes were shot with a conventional 2D camera. Some scenes had only one or two shots, others used a “Hollywood continuity” approach and a variety of shot sizes and angles. The frame limited the background, making the location shooting feasible. The approach also clearly distinguished the two worlds – the 2D “real” from the “fantasy” scenes. As reviewer two notes, numerous CVR works integrate 2D images into a 360˚ environment; I was aware of this practice and of their cited examples. My project takes this approach further than most other projects, however, in creating discrete story worlds, one which only uses 2D images and continuity editing and the other using one shot scenes containing a single 3D 360˚ image.

For the detention centre scenes, I also captured many of what I called “textural” shots. These included background figures, personal belongings in a tent, island images etc. In the extended edit process, I placed the shots covering the interactions between ZPR 359 and Doctor at eye level in the centre of the 360˚ space for easy viewing (Ijäs 2016; Sitzmann et al. 2018), then surrounded them (including the up/down areas) with these textural images. While the central storyline had continuous action, I used time-lapse and slow motion for the textural images to denote the indefinite nature of detention. The combined methodology creates an oppressive, claustrophobic environment: the subjects are confined by the frames, inert and overwhelmed by their surroundings. 

In comparison, the 360˚ fantasy scenes are expansive, open spaces, in which ZPR 359 speaks and moves freely. Shooting 360˚ in public spaces required planning to hide the crew (in tents on the beach, for example, or under the tripod). People would often stare at the camera, which necessitated multiple takes. This was preferred to trying to digitally remove unwanted background. For these scenes, the editing process was straightforward: the 360˚ images were rotated to align the key points of interest at the end of a shot with those in the opening of the next (Brillhart 2016; Bender 2018). The “painting out” of the 360˚ camera’s tripod (and operator) was nevertheless complicated by long shadows, shifting light and encroaching waves.

The 2D scenes feel less immersive for several reasons, namely having more content, shots, dialogue and a faster pace. In the edit, matching continuity of action and dialogue (or lip-sync) between different size shots was very time consuming as it required small cross-fades or jump cuts, which detract from viewer presence. On reflection, a better methodology would have been to shoot with two cameras simultaneously, capturing, for example, a mid-shot and a close-up. This would have afforded longer, uninterrupted takes, which are more closely aligned with my slow cinema intent.

My research project utilises an innovative approach, which creates new opportunities for narrative storytelling in 360˚ spaces. My consideration of the 360˚ space and viewer experience led to story content which required the experimentation, iteration and application of a new hybrid form. I amended the video file, where possible, to address technical issues, as reviewer two suggested, and An Indefinite Life is currently being submitted to international film festivals.

REFERENCES

Arora, Gabo, and Barry Pousman. dir. 2015. Clouds Over Sidra. Here Be Dragons, US: VRSE. works. VR Film.. 

Autio, Bate, Matthew Bate, and Trent Parke. Dir. 2017. Summation of Force. Australia: Closer Productions. Immersive Film Installation. 

Bender, Stuart. 2018. "Headset Attentional Synchrony: Tracking the Gaze of Viewers Watching Narrative Virtual Reality." Media Practice and Education, 20, no.  3: 1-20. https://doi.org/10.1080/25741136.2018.1464743

Brillhart, Jessica. 2016. "In the Blink of a Mind — Prologue." In the Blink of a Mind.” Medium (blog). January 13, 2016. https://medium.com/the-language-of-vr/in-the-blink-of-a-mind-prologue-7864c0474a29.

Casertano, Stefano. dir. 2023. Tales of the March. Germany: Daring House. Film. 

Chen, Singing. 2022. dir. The Man Who Couldn’t Leave. Taiwan: Outland Film Studio. Film.

Dooley, Kath. 2021. Cinematic Virtual Reality: A Critical Study of 21st Century Approaches and Practices. Palgrave Macmillan. 

Gorfinkel, Elena. 2016. "Exhausted Drift: Austerity, Dispossession and the Politics of Slow in Kelly Reichardt's Meek's Cutoff." In Slow Cinema, edited by Tiago De Luca and Nuno Barradas Jorge, 123-136 Edinburgh: Edinburgh University Press. 

Hazara, Aziz. dir. 2019. Bow Echo. Film Installation. Viewed at MCA, Sydney, 2020. 

Hedegus, Peter. 2022. dir. Sorella’s Story. Australia: Soul Vision Films Pty. Ltd. VR film.

Hurley, Wes. 2017. dir. Potato Dreams. US: Cargo Film. Film. 

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Julien, Isaac. dir. 2010. Ten Thousand Waves. Immersive Film Installation. 

Kacevski, George, and Frederic Simard. 2016. dir. Remember. Australia: The Pulse VR. VR Film.

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Ming-liang, Tsai. 2019. "Tsai Ming-liang: 90 minutes with the slow cinema master." Interview by Matthew Thrift. BFI. April 6. https://www.bfi.org.uk/interviews/tsai-ming-liang-deserted.  

Najera, Janire, and Matt Wright. 2023. dir. The Voyage of Arka Kinari. 4Pi Productions. Live Immersive Documentary Performance.

Pope, Vanessa C., Robert Dawes, Florian Schweiger, and Alia Sheikh. 2017. "The Geometry of Storytelling: Theatrical Use of Space for 360-degree Videos and Virtual Reality." In CHI Conference on Human Factors in Computing Systems, chaired by Mark, Gloria, and Susan Fussell, 4468-4478. New York: Association for Computing Machinery. https://doi.org/10.1145/3025453.3025581

Sitzmann, Vincent, Ana Serrano, Amy Pavel, Maneesh Agrawala, Diego Gutierrez, Belen Masia, and Gordon Wetzstein. 2018. "Saliency in VR: How do people explore virtual environments?" IEEE Transactions on Visualization and Computer Graphics, 24, no. 4: 1633-1642. https://doi.org/10.1109/TVCG.2018.2793599

Slater, Mel. 2009. "Place Illusion and Plausibility Can Lead to Realistic Behaviour in Immersive Virtual Environments." Philosophical transactions of the Royal Society of London,Series B, Biological sciences 364: 3549-57. https://doi.org/10.1098/rstb.2009.0138.

Tangshir, Milad. dir. 2019. VR Free. Italy: Associazione Museo Nazionale del Cinema. 360 ˚ Film. 

Tricart, Celine. 2017. Virtual Reality Filmmaking. Routledge.

Tricart, Celine, and Christian Stephen. 2017. dir. The Sun Ladies. US: Lucid Dreams Productions. VR Film.

Tsai, Ming-Liang. dir. 2017. The Deserted. Taiwan: Vive Originals. VR Film.

Unseld, Saschka. dir. 2017. Dear Angelica. US: Oculus Story Studio. VR Film. 

Wallworth, Lynette. dir. 2016. Collisions. Australia: Coco Films. VR Film.

Wenders, Wim. 2001. Once: Pictures and Stories. D.A.P.; Schirmer/Mosel.