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Is there such a thing as a non-virtual-reality story?
I believe you might have to begin right there. All human encounters are ambiguous. Even the right personal encounters are ambiguous in all societies, in all age groups, in all historical phases. And you see this ambiguity very clearly, for instance, when you find yourself on Facebook. This ambiguity, and this definition, is outwardly the source of all of your questions. Do we already live in a virtual reality? Did Rome, in antiquity, live in some form of virtual reality?
You once walked from Munich to Paris to go to your dying friend, and in your film “Wheel of Time” someone told you that by walking 1000’s of miles they learned the true size of Earth. Do you’re thinking that that, with V.R., it is going to be possible to learn the scale of Earth without ever taking an actual step?
No. No further explanation. I can say it only in a dictum: the world reveals itself to those that travel on foot. It is difficult to clarify to anyone who has not travelled on foot. And I mean travelling on foot, not backpacking or mountaineering or ambling along. I mean as we were made as humans to travel on foot, and sometimes very large distances, or as nomadic people. Strangely enough, the one time I got the sensation I used to be not caught in a virtual reality is once I travelled on foot.
What should you had filmed your entire voyage, and someone could experience it wearing a V.R. headset and take false steps in place? That wouldn’t be the identical?
It could be utter nonsense to film your entire voyage on foot. That’s why, in cinema, we live in a condensed type of life, of stories, of experiences. It only functions due to condensation.
You have said it was imperative that “Cave of Forgotten Dreams” was filmed and seen in 3-D. Can you imagine that in some unspecified time in the future it may be imperative to experience something in V.R.? That there’s a story that may only be told in V.R.?
Of course, 3-D was essential for that film because paintings, thirty-two thousand years back in time, weren’t on flat partitions within the cave but on wildly undulating ones. Whether the people were artists stays as much as debate, but they’d utilize, for instance, a bulging piece of rock to color the bulging neck of a bison that’s attacking you. So, yes, that made it imperative to shoot it in 3-D.
It could be interesting to film this very cave in virtual reality. However, our focus at all times could be at one particular place, after which we’d begin to turn around and check out to get some type of orientation in space. It wouldn’t be imperative, but it surely could be interesting to see that.
You said once that when people describe coming out of “Cave of Forgotten Dreams,” they don’t say the film was a couple of cave but, as a substitute, that they were in a cave. When I attempted V.R., I used to be with a bunch of individuals and considered one of them, when asked to explain it, didn’t say that it was a movie about an animated character but that they were in a room with an animated character. Is it ever proper to explain film within the experience of the second person, and might that change with V.R.? Is this can be a invaluable cinematic experience?
I believe so, because cinema doesn’t normally offer this chance, but here it was evidently there. That probably makes a special charm of “Cave of Forgotten Dreams.”
Back to virtual reality. I’ve seen one fairly short piece—a Mongolian yurt with a family sitting around and cooking something. And you might be sitting with them, and hastily someone next to you starts to talk and also you turn to the appropriate and there’s granny, who hastily starts to speak with everyone else, and also you notice there’s any individual else next to you. So those are interesting elements, when space hastily becomes considered one of the predominant players within the film. Understanding of space might be considered one of the things that cinema can really do quite well.
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