Obstacles and Openings to Presence in the Experience of Film National Communication Association, Boston, MA November 20, 2005 Kimberly A. Neuendorf Cleveland State University Paul D. Skalski University of Minnesota-Duluth

Introduction Many stories this year about the decline in movie box office revenues (e.g., Hayes, 2005; Rich, 2005). Presence (or a lack thereof) may be a primary reason. This presentation examines the problem from a presence perspective and places it within an historical context. >

Why are people not going out to movie theaters as much? Entertainment Weekly poll from May 2005 (N ≈ 10,600) suggests some answers. Though (1) poor film quality and (2) ticket prices seem to be major contributors: 11% of survey respondents identified (3) “rude and annoying people” as their major motivation for staying away. An additional 26% cited “all of the above” as their reason, for a total of 37% who are bothered by others. People seem frustrated by other moviegoers. >

Are people more rude today? There are more ways now to be rude and annoying than in the past, including: The “ancient” problem of talking to neighbors, PLUS: New sources of rudeness and annoyance, including: Ringing cell phones. Talking on cell phones. Using cell phones to record the movie. These would likely detract from a person’s sense of presence, making it more difficult to maintain a sense of presence at a movie theater. >

More findings from the EW poll Respondents were asked: “Can you imagine a time when you'd prefer seeing movies in your home?” A mere 25% said “no.” 51% percent said “yes,” they’re doing this right now. 24% said “yes,” as soon as they can afford a large screen TV with surround sound. >

The home film viewing experience Continues to improve due to technological advances such as: Larger screens High definition images Surround sound These media form variables have been shown to have positive effects on presence (e.g., Bracken, 2005). As more consumers adopt these technologies due to dropping prices, more may watch movies from home and still feel presence. >

The home film viewing experience—emulating the theatrical experience Some, notably those who grew up with theatrical movie-going, are outfitting their environment--e.g., popcorn machines, theater seating. . . a “pseudo-theatrical” viewing context A type of second-order “theatrical presence,” the feeling that one is viewing in a theater surrounded by others, is something that some want to recapture—so some new DVDs are including audience reactions! (e.g., Robert Rodriguez) >

Film—A Presence Analysis Film = the original immersive medium Physical Presence = related principally to form characteristics: Sensory Bandwidth Number of senses (e.g., sound, Aromarama, 4D) Level of sensory engagement (e.g., image resolution, color, widescreen, surround-sound) Editing style Invisible editing vs. obtrusive editing styles Social Presence = related principally to content and context characteristics: Encapsulated narrative Availability of repeat viewing (Edison vs. Lumieres) Group viewing context >

Magic Lantern Shows (1600s through 1800s) The original “4D” experience >

Eadweard Muybridge (1870s) Did not wish to create a sensation of reality, but rather chose to dissect it; anti-presence? >

Cinema of Astonishment? (1890s) Lumieres’ Arrival of a Train Lumieres’ travelogues >

Responses from the Movies to New Media Color Widescreen 3D Movies Cinerama William Castle’s “Ghost Vision” and “Percepto” Aromarama >

Future Responses from Movies Emerging ways to offer moviegoers a greater sensation of presence include:

1. Digital Projection

2. Large Screen Formats

3. New 3-D Technologies

4. 4-D Movies

Will theatrical moviegoing die? Historical evidence, framed from Fidler’s (1997) Mediamorphosis perspective, suggests NOT. Movies have survived past challenges, such as television, by offering viewers more potential to experience presence. The “language” of film survives as a basic set of tools for creating presence, used by newer media (e.g., gaming; Manovich, 2001) >

Research Questions Gateways to Presence?--Which contextual cues are essential for the experience of physical and/or social presence in (a) theatrical and (b) pseudo-theatrical viewing situations? Individual Differences in Presence Gateway Needs--Is dependence on these cues learned?