1. 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

2. 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. >

3. 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. >

4. 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. >

5. 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. >

6. 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. >

7. 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) >

8. 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 >

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

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

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

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

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

15. 1. Digital Projection

16. 2. Large Screen Formats

17. 3. New 3-D Technologies

18. 4. 4-D Movies

19. 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) >

20. 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?