{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2026,6,10]],"date-time":"2026-06-10T10:11:09Z","timestamp":1781086269375,"version":"3.54.1"},"reference-count":94,"publisher":"MIT Press","content-domain":{"domain":["direct.mit.edu"],"crossmark-restriction":true},"short-container-title":[],"published-print":{"date-parts":[[2021,12,1]]},"abstract":"<jats:title>Abstract<\/jats:title>\n               <jats:p>Through the simultaneous presence of graphically composed and materially existing elements, augmented reality (AR) offers ephemeral digital content that is the result of the momentary and, thus, unrepeatable alignment of a physical body and world and an AR system. Capturing the performative and embodied angles of screen-based AR through a combined film-analytical and cognitive lens, this paper focuses on how interfaces, content, and AR-manipulated bodies serve as apparatus for cinematic composition as well as storytelling and user engagement. Observing interactions with AR filters and backgrounds, we reflect on how users\u2019 bodies and expressions that are mirrored on screen are translated into an immersive digital storyworld that exists in the temporal and spatial context of the AR experience and the related technology. AR filters and backgrounds\u2019 affective quality, thus, lies in bodily control and in the creative act of choosing and moderating body characteristics, postures, and positions in real time in relation to the surrounding digitally manipulated or recorded environment. By moderating the representations of bodies and spaces as well as their interplay, AR users actively shape the visual composition of the on-screen space and, thereby, the visual narrative.<\/jats:p>","DOI":"10.1162\/pres_a_00376","type":"journal-article","created":{"date-parts":[[2023,4,6]],"date-time":"2023-04-06T14:50:44Z","timestamp":1680792644000},"page":"99-123","update-policy":"https:\/\/2.zoppoz.workers.dev:443\/https\/doi.org\/10.1162\/mitpressjournals.corrections.policy","source":"Crossref","is-referenced-by-count":11,"title":["AR Cinema: Visual Storytelling and Embodied Experiences with Augmented Reality Filters and Backgrounds"],"prefix":"10.1162","volume":"30","author":[{"given":"Jennifer","family":"O'Meara","sequence":"first","affiliation":[{"name":"School of Creative Arts Trinity College Dublin"}],"role":[{"vocabulary":"crossref","role":"author"}]},{"given":"Kata","family":"Szita","sequence":"additional","affiliation":[{"name":"Trinity Long Room Hub Arts & Humanities Research Institute ADAPT Centre of Excellence for AI-Driven Digital Content Technology Trinity College Dublin Dublin, Ireland"}],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"281","published-online":{"date-parts":[[2021,12,1]]},"reference":[{"key":"2023062114283961500_B1","doi-asserted-by":"crossref","DOI":"10.5040\/9781628929966","volume-title":"Beyond the screen: Emerging cinema and engaging audiences","author":"Atkinson","year":"2014"},{"issue":"4","key":"2023062114283961500_B2","doi-asserted-by":"publisher","first-page":"355","DOI":"10.1162\/pres.1997.6.4.355","article-title":"A survey of augmented reality","volume":"6","author":"Azuma","year":"1997","journal-title":"Presence: Teleoperators and Virtual Environments"},{"key":"2023062114283961500_B3","doi-asserted-by":"publisher","first-page":"377","DOI":"10.1515\/TEXT.2008.018","article-title":"Small stories as a new perspective in narrative and identity analysis","author":"Bamberg","year":"2008"},{"key":"2023062114283961500_B4","doi-asserted-by":"crossref","first-page":"56","DOI":"10.3406\/comm.1975.1348","article-title":"Le dispositif: approches m\u00e9tapsychologiques de l'impression de r\u00e9alit\u00e9","volume":"23","author":"Baudry","year":"1975","journal-title":"Communications"},{"key":"2023062114283961500_B5","volume-title":"A new theory of mind: The theory of narrative thought","author":"Beach","year":"2016"},{"issue":"1","key":"2023062114283961500_B6","doi-asserted-by":"publisher","first-page":"75","DOI":"10.1525\/fq.2020.74.1.75","article-title":"On platforms: In praise of escapism","volume":"74","author":"Benson-Allott","year":"2020","journal-title":"Film Quarterly"},{"key":"2023062114283961500_B7","volume-title":"On escapism: Redemptive readings of a deeply disparaged pleasure. [Paper presentation]. Penn Arts & Sciences Colloquium","author":"Benson-Allott","year":"2022,  16"},{"key":"2023062114283961500_B8","article-title":"The big picture in the entire AR-filter craze","author":"Bhatt","year":"2020,  23","journal-title":"The Economic Times"},{"key":"2023062114283961500_B9","doi-asserted-by":"publisher","first-page":"119","DOI":"10.1007\/978-3-319-64027-3_9","article-title":"Augmented reality and virtual reality in physical and online retailing: A review, synthesis and research agenda","volume-title":"Augmented reality and virtual reality","author":"Bonetti","year":"2018"},{"issue":"4","key":"2023062114283961500_B10","doi-asserted-by":"publisher","first-page":"550","DOI":"10.1177\/0093650219886516","article-title":"The impact of moral expectancy violations on audiences\u2019 parasocial relationships with movie heroes and villains","volume":"48","author":"Bonus","year":"2021","journal-title":"Communication Research"},{"key":"2023062114283961500_B11","volume-title":"Narration in the fiction film","author":"Bordwell","year":"1985"},{"key":"2023062114283961500_B12","volume-title":"Film art: An introduction","author":"Bordwell","year":"1979"},{"key":"2023062114283961500_B13","first-page":"154","article-title":"Digital attractions: Reloading early cinema in online video collections","volume-title":"The YouTube reader","author":"Broeren","year":"2009"},{"issue":"21","key":"2023062114283961500_B14","doi-asserted-by":"publisher","first-page":"89","DOI":"10.33178\/alpha.21.05","article-title":"Queering cultural memory through technology: Transitional spaces in AR and VR","author":"Ceuterick","year":"2021","journal-title":"Alphaville: Journal of Film and Screen Media"},{"key":"2023062114283961500_B15","doi-asserted-by":"publisher","first-page":"1","DOI":"10.1080\/14794713.2022.2162273","article-title":"\u201cCurtains, music and stages\u201d in Zoom theatre: framing devices in Coney's Telephone","author":"Chen","year":"2022","journal-title":"International Journal of Performance Arts and Digital Media"},{"key":"2023062114283961500_B16","article-title":"The incredible lengths Gary Oldman went to become Winston Churchill","author":"Chi","year":"2016,  16","journal-title":"Vanity Fair"},{"key":"2023062114283961500_B17","article-title":"People are looping videos to fake paying attention in Zoom meetings","author":"Cole","year":"2020,  23","journal-title":"Vice"},{"key":"2023062114283961500_B18","first-page":"121","article-title":"Machines of the visible","volume-title":"The cinematic apparatus","author":"Comolli","year":"1980"},{"key":"2023062114283961500_B19","volume-title":"Dressing the part: Sternberg, Dietrich, and costume","author":"DelGaudio","year":"1993"},{"key":"2023062114283961500_B20","volume-title":"Discorrelated images","author":"Denson","year":"2020"},{"key":"2023062114283961500_B21","doi-asserted-by":"publisher","DOI":"10.3389\/frobt.2018.00037","article-title":"A systematic review of 10 years of augmented reality usability studies: 2005 to 2014","volume":"5","author":"Dey","year":"2018","journal-title":"Frontiers in Robotics and AI"},{"key":"2023062114283961500_B22","article-title":"Nicole Kidman is Margot at the Wedding","author":"Douglas","year":"2007,  13","journal-title":"Comingsoon.net"},{"issue":"8","key":"2023062114283961500_B23","doi-asserted-by":"publisher","first-page":"1319","DOI":"10.1080\/14680777.2020.1830927","article-title":"Celebrity 2.0: Lil Miquela and the rise of a virtual star system","volume":"20","author":"Drenten","year":"2020","journal-title":"Feminist Media Studies"},{"issue":"1","key":"2023062114283961500_B24","doi-asserted-by":"publisher","first-page":"16","DOI":"10.3167\/proj.2010.040103","article-title":"Understanding characters","volume":"4","author":"Eder","year":"2010","journal-title":"Projections: The Journal for Movies and Mind"},{"key":"2023062114283961500_B25","first-page":"68","article-title":"Tales of sound and fury: Observations on the family melodrama","volume-title":"Imitations of life: A reader on film and television melodrama","author":"Elsaesser","year":"1972"},{"key":"2023062114283961500_B26","volume-title":"Film history as media archaeology: Tracking digital cinema","author":"Elsaesser","year":"2019"},{"issue":"1","key":"2023062114283961500_B27","doi-asserted-by":"publisher","first-page":"52","DOI":"10.5594\/J08592","article-title":"Standardization of motion picture make-up","volume":"28","author":"Factor","year":"1937","journal-title":"Journal of the Society of Motion Picture Engineers"},{"key":"2023062114283961500_B28","article-title":"Texas lawyer, trapped by cat filter on Zoom call, informs judge he is not a cat","author":"Gabbatt","year":"2021,  10","journal-title":"The Guardian"},{"issue":"1","key":"2023062114283961500_B29","doi-asserted-by":"publisher","first-page":"23","DOI":"10.1007\/s11097-005-4737-z","article-title":"Embodied simulation: From neurons to phenomenal experience","volume":"4","author":"Gallese","year":"2005","journal-title":"Phenomenology and the Cognitive Sciences"},{"issue":"11","key":"2023062114283961500_B30","doi-asserted-by":"publisher","first-page":"512","DOI":"10.1016\/j.tics.2011.09.003","article-title":"What is so special about embodied simulation?","volume":"15","author":"Gallese","year":"2011","journal-title":"Trends in Cognitive Sciences"},{"key":"2023062114283961500_B31","article-title":"The 28 best Zoom backgrounds you can download right now for free","author":"Garrity","year":"2020,  22","journal-title":"Good Housekeeping"},{"issue":"4","key":"2023062114283961500_B32","doi-asserted-by":"publisher","first-page":"447","DOI":"10.1007\/s10055-019-00379-9","article-title":"Systematic review and meta-analysis of augmented reality in educational settings","volume":"23","author":"Garz\u00f3n","year":"2019","journal-title":"Virtual Reality"},{"key":"2023062114283961500_B33","doi-asserted-by":"publisher","first-page":"1","DOI":"10.1109\/TVCG.2021.3099290","article-title":"Being an avatar \u201cfor real\u201d: A survey on virtual embodiment in augmented reality","author":"Genay","year":"2021","journal-title":"IEEE Transactions on Visualization and Computer Graphics"},{"key":"2023062114283961500_B34","doi-asserted-by":"crossref","DOI":"10.1075\/sin.8","volume-title":"Small stories, interaction and identities","author":"Georgakopoulou","year":"2007"},{"key":"2023062114283961500_B35","volume-title":"The Life of Mise-En-Sc\u00e8ne: Visual Style and British Film Criticism","author":"Gibbs","year":"2013"},{"key":"2023062114283961500_B36","doi-asserted-by":"publisher","first-page":"37","DOI":"10.1075\/ssol.2.1.03gre","article-title":"Emotion and transportation into fact and fiction. Scientific Study of Literature","author":"Green","year":"2012"},{"key":"2023062114283961500_B37","doi-asserted-by":"crossref","DOI":"10.1093\/acprof:oso\/9780195371314.001.0001","volume-title":"Embodied visions: Evolution, emotion, culture, and film","author":"Grodal","year":"2009"},{"issue":"3\u20134","key":"2023062114283961500_B38","first-page":"63","article-title":"The cinema of attractions: Early film, its spectator and the avant-garde","volume":"8","author":"Gunning","year":"1986","journal-title":"Wide Angle"},{"key":"2023062114283961500_B39","first-page":"37","article-title":"Complex staging: The hidden dimensions of Roy Andersson's aesthetics","volume":"5","author":"Hanich","year":"2014","journal-title":"MOVIE: A Journal of Film Criticism"},{"key":"2023062114283961500_B40","doi-asserted-by":"crossref","DOI":"10.2307\/j.ctv36xvhtk","volume-title":"From M\u00e9li\u00e8s to new media: Spectral projections","author":"Haslem","year":"2019"},{"key":"2023062114283961500_B41","article-title":"She tailors to characters","author":"Herman-Cohen","year":"2003,  13","journal-title":"Los Angeles Times"},{"key":"2023062114283961500_B42","doi-asserted-by":"publisher","first-page":"107126","DOI":"10.1016\/j.chb.2021.107126","article-title":"What lies behind the filter?\u201d Uncovering the motivations for using augmented reality (AR) face filters on social media and their effect on well-being","volume":"128","author":"Javornik","year":"2022","journal-title":"Computers in Human Behavior"},{"key":"2023062114283961500_B43","doi-asserted-by":"crossref","first-page":"82","DOI":"10.4324\/9780429437748-10","article-title":"It's not just about empathy: Going beyond the empathy machine in immersive journalism","volume-title":"Immersive journalism as storytelling: Ethics, production, and design","author":"Jones","year":"2021"},{"key":"2023062114283961500_B44","doi-asserted-by":"publisher","first-page":"41","DOI":"10.1109\/ISMAR-Adjunct51615.2020.00026","article-title":"Effects of behavioral and anthropomorphic realism on social influence with virtual humans in AR","volume-title":"Proceedings of IEEE Mixed and Augmented Reality","author":"Jun","year":"2020"},{"key":"2023062114283961500_B45","doi-asserted-by":"publisher","first-page":"372","DOI":"10.1007\/978-3-030-12960-6_25","article-title":"Current and potential applications of AR\/VR technologies in cultural heritage. \u201cINCEPTION Virtual Museum HAMH: A use case on BIM and AR\/VR modelling for the historical archive museum of Hydra Greece","volume-title":"Proceedings of Transdisciplinary Multispectral Modeling and Cooperation for the Preservation of Cultural Heritage","author":"Karadimas","year":"2019"},{"issue":"2","key":"2023062114283961500_B46","doi-asserted-by":"publisher","first-page":"151","DOI":"10.1017\/S0266464X22000057","article-title":"The potentials and challenges of Zoom live theatre during coronavirus lockdown: Pandemic therapy and Corona chicken (part two)","volume":"38","author":"Karam","year":"2022","journal-title":"New Theatre Quarterly"},{"key":"2023062114283961500_B47","doi-asserted-by":"crossref","DOI":"10.4324\/9780080517483","volume-title":"Special make-up effects","author":"Kehoe","year":"1991"},{"issue":"4","key":"2023062114283961500_B48","doi-asserted-by":"publisher","first-page":"373","DOI":"10.1162\/pres_a_00124","article-title":"The sense of embodiment in virtual reality","volume":"21","author":"Kilteni","year":"2012","journal-title":"Presence: Teleoperators and Virtual Environments"},{"key":"2023062114283961500_B49","volume-title":"Indie 2.0: Change and continuity in contemporary American indie film","author":"King","year":"2014"},{"key":"2023062114283961500_B50","article-title":"The online dating beauty filter trap","author":"Kozlowska","year":"2021,  5","journal-title":"THINK NBC News"},{"key":"2023062114283961500_B51","doi-asserted-by":"publisher","first-page":"1","DOI":"10.1109\/DigitalHeritage.2018.8810126","article-title":"Multiuser interaction with hybrid VR and AR for cultural heritage objects","volume-title":"Proceedings of the 3rd Digital Heritage International Congress (DigitalHERITAGE) & 24th International Conference on Virtual Systems & Multimedia","author":"Li","year":"2018"},{"key":"2023062114283961500_B52","volume-title":"Mise en sc\u00e8ne and film style: From classical Hollywood to new media art","author":"Martin","year":"2014"},{"key":"2023062114283961500_B53","article-title":"Hyper-Reality","author":"Matsuda"},{"key":"2023062114283961500_B54","volume-title":"The glitch moment(um)","author":"Menkman","year":"2011"},{"issue":"12","key":"2023062114283961500_B55","first-page":"1321","article-title":"A taxonomy of mixed reality visual displays","volume":"E77-D","author":"Milgram","year":"1994","journal-title":"IEICE Transactions on Information Systems"},{"key":"2023062114283961500_B56","doi-asserted-by":"publisher","first-page":"282","DOI":"10.1117\/12.197321","article-title":"Augmented reality: A class of displays on the reality-virtuality continuum","author":"Milgram","year":"1994"},{"issue":"5","key":"2023062114283961500_B57","doi-asserted-by":"publisher","first-page":"e0216290","DOI":"10.1371\/journal.pone.0216290","article-title":"Social interaction in augmented reality","volume":"14","author":"Miller","year":"2019","journal-title":"PLOS One"},{"issue":"6","key":"2023062114283961500_B58","doi-asserted-by":"publisher","first-page":"549","DOI":"10.1002\/ase.1696","article-title":"The effectiveness of virtual and augmented reality in health sciences and medical anatomy","volume":"10","author":"Moro","year":"2017","journal-title":"Anatomical Sciences Education"},{"key":"2023062114283961500_B59","first-page":"207","article-title":"Rear projection and the paradoxes of Hollywood realism","volume-title":"Theorizing world cinema","author":"Mulvey","year":"2011"},{"key":"2023062114283961500_B60","volume-title":"Fashion in film","author":"Munich","year":"2011"},{"key":"2023062114283961500_B61","article-title":"Japan's latest big thing: \u201cVirtual YouTubers","author":"Nagata","year":"2018,  17","journal-title":"The Japan Times"},{"issue":"1","key":"2023062114283961500_B62","doi-asserted-by":"publisher","first-page":"47","DOI":"10.1177\/1470412920906259","article-title":"Feeling good about feeling bad: Virtuous virtual reality and the automation of racial empathy","volume":"19","author":"Nakamura","year":"2020","journal-title":"Journal of Visual Culture"},{"key":"2023062114283961500_B63","article-title":"Nat Geo's Instagram interactive shows what the world will feel like in 2070","author":"National Geographic"},{"key":"2023062114283961500_B64","first-page":"85","article-title":"Colour and film aesthetics","volume-title":"The film cultures reader","author":"Neale","year":"2002"},{"key":"2023062114283961500_B65","article-title":"Life through a screen: Cinematic space and social distancing","author":"O'Meara","year":"2020,  22","journal-title":"The Irish Times"},{"issue":"4","key":"2023062114283961500_B66","doi-asserted-by":"publisher","first-page":"425","DOI":"10.1002\/wcs.1185","article-title":"The cognitive science of fiction","volume":"3","author":"Oatley","year":"2012","journal-title":"WIREs Cognitive Science"},{"key":"2023062114283961500_B67","first-page":"45","article-title":"How social simulation makes characters real","volume-title":"Real characters: The psychology of parasocial relationships with media characters","author":"Oatley","year":"2021"},{"issue":"1","key":"2023062114283961500_B68","doi-asserted-by":"publisher","first-page":"21","DOI":"10.1186\/s42492-020-00057-7","article-title":"Systematic review and meta-analysis of augmented reality in medicine, retail, and games. Visual Computing for Industry","volume":"3","author":"Parekh","year":"2020","journal-title":"Biomedicine, and Art"},{"key":"2023062114283961500_B69","volume-title":"Colour","author":"Peacock","year":"2010"},{"key":"2023062114283961500_B70","volume-title":"Film as film: Understanding and judging movies","author":"Perkins","year":"1972"},{"key":"2023062114283961500_B71","doi-asserted-by":"publisher","first-page":"1829","DOI":"10.1007\/978-981-10-5251-4_48","volume-title":"Autoethnography as a phenomenological tool: Connecting the personal to the cultural","author":"Pitard","year":"2019"},{"issue":"1","key":"2023062114283961500_B72","article-title":"YouTube: The new cinema of attractions","volume":"5","author":"Rizzo","year":"2008","journal-title":"Scan: Journal of Media Arts Culture"},{"key":"2023062114283961500_B73","volume-title":"Cinematic appeals: The experience of new movie technologies","author":"Rogers","year":"2013"},{"key":"2023062114283961500_B74","doi-asserted-by":"publisher","first-page":"550","DOI":"10.1145\/2993148.2997618","article-title":"Player\/avatar body relations in multimodal augmented reality games","volume-title":"Proceedings of the 18th ACM International Conference on Multimodal Interaction","author":"Rosa","year":"2016"},{"key":"2023062114283961500_B75","doi-asserted-by":"publisher","first-page":"327","DOI":"10.1145\/2818346.2820744","article-title":"The influence of visual cues on passive tactile sensations in a multimodal immersive virtual environment","volume-title":"Proceedings of the 17th ACM International Conference on Multimodal Interaction","author":"Rosa","year":"2015"},{"key":"2023062114283961500_B76","article-title":"Need zing in your Zoom? Let Warhol and the avant-garde vamp up your video conferences","author":"Rose","year":"2020,  23","journal-title":"The Guardian"},{"key":"2023062114283961500_B77","article-title":"Coming to class as a banana? Snap filters and Zoom backgrounds add levity to virtual meetings","author":"Rosenblatt","year":"2020,  26"},{"key":"2023062114283961500_B78","article-title":"Why Hollywood movie-making may become more virtual in a post-coronavirus world","author":"Russo","year":"2020,  23"},{"issue":"1","key":"2023062114283961500_B79","first-page":"40","article-title":"Video game characters: Theory and analysis","volume":"3","author":"Schr\u00f6ter","year":"2014","journal-title":"Diegesis: Interdisciplinary E-Journal for Narrative Research"},{"key":"2023062114283961500_B80","first-page":"15","article-title":"Mapping the constellation of psychological experiences involved in our connection with fictional characters and actors","volume-title":"Real characters: The psychology of parasocial relationships with media characters","author":"Shackleford","year":"2021"},{"key":"2023062114283961500_B81","doi-asserted-by":"publisher","DOI":"10.5749\/minnesota\/9780816693153.003.0004","article-title":"He could be a bunny rabbit for all I care!\u201d: Identification with video game characters and arguments for diversity in representation","volume-title":"Proceedings of the 2011 DiGRA International Conference: Think Design Play","author":"Shaw","year":"2011"},{"key":"2023062114283961500_B82","volume-title":"Engaging characters: Fiction, emotion, and the cinema","author":"Smith","year":"1995"},{"issue":"1","key":"2023062114283961500_B83","doi-asserted-by":"publisher","first-page":"24","DOI":"10.2307\/1125262","article-title":"Film and theatre","volume":"11","author":"Sontag","year":"1966","journal-title":"The Tulane Drama Review"},{"key":"2023062114283961500_B84","article-title":"Filmmaker creates Zoom background where he brings himself a cup of tea [video]","author":"Storyful","year":"2020,  9"},{"key":"2023062114283961500_B85","doi-asserted-by":"crossref","first-page":"59","DOI":"10.1515\/9789048513833-005","article-title":"Media archaeology: Where film history, media art and new media (can) meet","volume-title":"Preserving and exhibiting media art","author":"Strauven","year":"2013"},{"key":"2023062114283961500_B86","volume-title":"Costume and cinema: Dress codes in popular film","author":"Street","year":"2001"},{"key":"2023062114283961500_B87","article-title":"Smartphone cinematics: A cognitive study of smartphone spectatorship","author":"Szita","year":"2019"},{"key":"2023062114283961500_B88","article-title":"Phenonarratology and cinematic virtual reality: A phenomenological and analytical approach to embodied viewing and the changing sensory scope","volume-title":"Immersion in analogue and digital environments: Enchantment as a laboratory for transdisciplinary thinking and practice","author":"Szita"},{"issue":"2","key":"2023062114283961500_B89","doi-asserted-by":"publisher","first-page":"157","DOI":"10.1353\/cj.2012.0000","article-title":"The screen on the set: The problem of classical-studio rear projection","volume":"51","author":"Turnock","year":"2012","journal-title":"Cinema Journal"},{"key":"2023062114283961500_B90","doi-asserted-by":"publisher","first-page":"118","DOI":"10.1016\/j.bodyim.2018.08.013","article-title":"The effects of viewing thin, sexualized selfies on Instagram: Investigating the role of image source and awareness of photo editing practices","volume":"27","author":"Vendemia","year":"2018","journal-title":"Body Image"},{"key":"2023062114283961500_B91","doi-asserted-by":"publisher","first-page":"1","DOI":"10.1007\/978-3-319-08234-9_81-1","article-title":"Augmented reality entertainment: Taking gaming out of the box","volume-title":"Encyclopedia of computer graphics and games","author":"Von Itzstein","year":"2017"},{"issue":"3","key":"2023062114283961500_B92","doi-asserted-by":"publisher","first-page":"72","DOI":"10.1353\/cj.2019.0023","article-title":"On the concept of setting: A study of V. F. Perkins","volume":"58","author":"Watter","year":"2019","journal-title":"Cinema Journal"},{"issue":"3","key":"2023062114283961500_B93","doi-asserted-by":"publisher","first-page":"365","DOI":"10.1177\/1940844720939853","article-title":"I, Posthuman: A deliberately provocative title","volume":"13","author":"Wilde","year":"2020","journal-title":"International Review of Qualitative Research"},{"issue":"3","key":"2023062114283961500_B94","doi-asserted-by":"publisher","first-page":"181","DOI":"10.1017\/S1054204321000460","article-title":"Zoom; or, obsolescence","volume":"65","author":"Worthen","year":"2021","journal-title":"TDR: The Drama Review"}],"container-title":["PRESENCE: Virtual and Augmented Reality"],"original-title":[],"language":"en","link":[{"URL":"https:\/\/2.zoppoz.workers.dev:443\/https\/direct.mit.edu\/pvar\/article-pdf\/doi\/10.1162\/pres_a_00376\/2133908\/pres_a_00376.pdf","content-type":"application\/pdf","content-version":"vor","intended-application":"syndication"},{"URL":"https:\/\/2.zoppoz.workers.dev:443\/https\/direct.mit.edu\/pvar\/article-pdf\/doi\/10.1162\/pres_a_00376\/2133908\/pres_a_00376.pdf","content-type":"unspecified","content-version":"vor","intended-application":"similarity-checking"}],"deposited":{"date-parts":[[2023,6,21]],"date-time":"2023-06-21T14:32:42Z","timestamp":1687357962000},"score":1,"resource":{"primary":{"URL":"https:\/\/2.zoppoz.workers.dev:443\/https\/direct.mit.edu\/pvar\/article\/doi\/10.1162\/pres_a_00376\/115593\/AR-Cinema-Visual-Storytelling-and-Embodied"}},"subtitle":[],"short-title":[],"issued":{"date-parts":[[2021]]},"references-count":94,"URL":"https:\/\/2.zoppoz.workers.dev:443\/https\/doi.org\/10.1162\/pres_a_00376","relation":{},"ISSN":["1531-3263"],"issn-type":[{"value":"1531-3263","type":"electronic"}],"subject":[],"published-other":{"date-parts":[[2021]]},"published":{"date-parts":[[2021]]}}}