Immersiveness is a key aspect of film that refers to the degree to which viewers feel engaged and absorbed in the cinematic experience (Tamborini, Bowman, Eden, & Grizzard, 2010). Measuring immersiveness in film can be challenging, as it is a subjective experience that can vary across individuals and films (Calleja, 2014). In this discussion, I will explore some of the methods that have been used to measure immersiveness in film, with reference to relevant literature.
One way to measure immersiveness in film is through the use of self-report measures, which ask viewers to rate their subjective experience of immersion. For example, Tamborini et al. (2010) developed a multidimensional scale of perceived immersive experience in film, which includes items related to spatial presence (e.g., “I felt like I was in the same physical space as the characters”), narrative transportation (e.g., “I was completely absorbed in the story”), and emotional involvement (e.g., “I felt emotionally connected to the characters”). Participants rate each item on a 7-point Likert scale, with higher scores indicating greater levels of immersiveness. Other self-report measures of immersiveness include the Immersive Experience Questionnaire (Chen, Huang, & Huang, 2020) and the Immersion Questionnaire (Jennett et al., 2008).
Another way to measure immersiveness in film is through the use of physiological measures, which assess changes in bodily responses associated with immersion. For example, Galvanic Skin Response (GSR) is a measure of the electrical conductance of the skin that can indicate arousal and emotional responses (Kreibig, 2010). Heart Rate Variability (HRV) is another measure that can be used to assess physiological changes associated with immersion, as it reflects the variability in time between successive heartbeats, and is influenced by both parasympathetic and sympathetic nervous system activity (Laborde, Mosley, & Thayer, 2017).
In addition to self-report and physiological measures, behavioral measures can also be used to assess immersiveness in film. For example, eye-tracking can be used to measure the extent to which viewers focus their attention on different elements of the film, such as the characters or the environment (Bulling et al., 2016). Eye-tracking data can also be used to infer cognitive processes associated with immersion, such as mental workload and engagement (Munoz-Montoya, Bohil, Di Stasi, & Gugerty, 2014).
Overall, measuring immersiveness in film is a complex and multifaceted process that involves subjective, physiological, and behavioral components. Self-report measures are commonly used to assess viewers’ subjective experience of immersion, while physiological measures can provide objective indicators of bodily responses associated with immersion. Behavioral measures, such as eye-tracking, can provide insights into cognitive processes associated with immersion. Combining these different methods can help to provide a more comprehensive and accurate assessment of immersiveness in film.
References
Bulling, A., Mansfield, A., & Elsden, C. (2016). Eye tracking and the moving image. Springer.
Calleja, G. (2014). In-game: From immersion to incorporation. MIT Press.
Chen, Y.-W., Huang, Y.-J., & Huang, C.-H. (2020). The Immersive Experience Questionnaire: Scale development and validation. Journal of Computer-Mediated Communication, 25(1), 49-61.
Jennett, C., Cox, A. L., Cairns, P., Dhoparee, S., Epps, A., Tijs, T., & Walton, A. (2008). Measuring and defining the experience of immersion in games. International Journal of Human-Computer Studies, 66(9), 641-661.
Kreibig, S. D. (2010). Autonomic nervous system activity in emotion: A review. Biological Psychology, 84(3), 394-421.
Laborde, S., Mosley, E., & Thayer, J. F. (2017). Heart rate variability and cardiac vagal tone in psychophysiological research–recommendations for experiment planning, data analysis, and data reporting. Frontiers in Psychology, 8, 213.
Munoz-Montoya, F., Bohil, C. J., Di Stasi, L. L., & Gugerty, L. (2014). Using eye tracking to evaluate the cognitive workload of image processing in a simulated tactical environment. Displays, 35(3), 167-174.
Tamborini, R., Bowman, N. D., Eden, A., & Grizzard, M. (2010). Organizing the perception of narrative events: Psychological need satisfaction and narrative immersion. In P. Vorderer, D. Friedrichsen, & J. Bryant (Eds.), Playing video games: Motives, responses, and consequences (pp. 165-184). Routledge.