Improving Engagement and Immersion with Interactive Cinematic Experiences in Mobile Virtual Reality

Authors

  • Jing Mi Universiti Pendidikan Sultan Idris (UPSI), Perak, Malaysia
  • Ummu Husna Binti Azizan Universiti Pendidikan Sultan Idris (UPSI), Perak, Malaysia

DOI:

https://doi.org/10.3991/ijim.v20i15.62596

Keywords:

Interactive Cinematography, Immersion, Virtual Reality, Mobile Computing, Narrative Engagement, User Engagement

Abstract


This study explores how interactivity and immersion affect user engagement (UE) in mobile virtual reality (VR) interactive cinematic experiences, with a focus on the important role of cinematic communication quality (CCQ). Using a cross-sectional survey, data were gathered from 200 adult mobile VR users through validated multi-item scales measuring interactivity, immersion, CCQ, and UE. The data were analysed with partial least squares structural equation modelling (PLS-SEM) using fully reflective and reflective higher-order constructs. The structural results indicated that both interactivity (β = 0.32), and immersion (β = 0.50) are positive, significant predictors of CCQ, which in turn strongly impacts ultimate user engagement (β = 0.55). Bootstrapping analysis confirmed that CCQ fully mediates the relationships of both interactivity and immersion with UE. The results show that interactive and immersive technology only increases engagement when it improves the quality of the story. This highlights the key role of cinematic communication. The study presents a clear, evidence-based framework for designing mobile VR storytelling apps, emphasizing that strong storytelling is more important than technology alone.

References

[1] Q. Guo, S. Rungsrisawat, and C. Liu, “The Future of Talk Shows: AI-Driven Virtual Hosts and Their Impact on Media Communication: A Systematic Literature Review,” Journal of Advances in Humanities Research, vol. 4, no. 2, pp. 37–57, 2025, doi: 10.56868/jadhur.v4i2.306.

[2] F. Wang, “Interactive Cinematic Experience Design and User Behavior Analysis Enabled by Mobile Augmented Reality,” International Journal of Interactive Mobile Technologies, vol. 19, no. 14, pp. 4–18, 2025, doi: 10.3991/ijim.v19i14.53691.

[3] R. Carpio, O. Baumann, and J. Birt, “Evaluating the viewer experience of interactive virtual reality movies,” Virtual Reality, vol. 27, no. 4, pp. 3181–3190, Dec. 2023, doi: 10.1007/s10055-023-00800-4.

[4] K. Szita, P. Gander, and D. Wallstén, “The effects of cinematic virtual reality on viewing experience and the recollection of narrative elements,” PRESENCE: Virtual and Augmented Reality, vol. 27, no. 4, pp. 410–425, Dec. 2018, doi: 10.1162/pres_a_00337.

[5] D. Shin, “How does immersion work in augmented reality games? A user-centric view of immersion and engagement,” Information, Communication & Society, vol. 22, no. 9, pp. 1212–1229, 2019, doi: 10.1080/1369118X.2017.1411519.

[6] K. Nie, M. Guo, and Z. Gao, “Enhancing emotional engagement in virtual reality (VR) cinematic experiences through multi-sensory interaction design,” in Proc. 2023 Asia Conference on Cognitive Engineering and Intelligent Interaction (CEII), Dec. 2023, pp. 47–53, doi: 10.1109/CEII60310.2023.00016.

[7] A. MacQuarrie and A. Steed, “Cinematic virtual reality: Evaluating the effect of display type on the viewing experience for panoramic video,” in Proc. 2017 IEEE Virtual Reality (VR), Mar. 2017, pp. 45–54, doi: 10.1109/VR.2017.7892230.

[8] Z. Yu and C. H. Lo, “Mapping the viewer experience in cinematic virtual reality: A systematic review,” PRESENCE: Virtual and Augmented Reality, vol. 32, pp. 205–229, 2023, doi: 10.1162/pres_a_00406.

[9] F. Škola, S. Rizvić, M. Cozza, L. Barbieri, F. Bruno, D. Skarlatos, and F. Liarokapis, “Virtual reality with 360-video storytelling in cultural heritage: Study of presence, engagement, and immersion,” Sensors, vol. 20, no. 20, p. 5851, Oct. 2020, doi: 10.3390/s20205851.

[10] K. Choi, Y. J. Yoon, O. Y. Song, and S. M. Choi, “Interactive and immersive learning using 360 virtual reality contents on mobile platforms,” Mobile Information Systems, vol. 2018, Art. no. 2306031, 2018, doi: 10.1155/2018/2306031.

[11] J. Scholz and A. N. Smith, “Augmented reality: Designing immersive experiences that maximize consumer engagement,” Business Horizons, vol. 59, no. 2, pp. 149–161, Mar. 2016, doi: 10.1016/j.bushor.2015.10.003.

[12] A. Cannavò, A. Castiello, F. G. Pratticò, T. Mazali, and F. Lamberti, “Immersive movies: The effect of point of view on narrative engagement,” AI & SOCIETY, vol. 39, no. 4, pp. 1811–1825, Aug. 2024, doi: 10.1007/s00146-023-01684-0.

[13] G. A. Lee, J. Chen, M. Billinghurst, and R. Lindeman, “Enhancing immersive cinematic experience with augmented virtuality,” in Proc. 2016 IEEE International Symposium on Mixed and Augmented Reality (ISMAR-Adjunct), Sep. 2016, pp. 115–116, doi: 10.1109/ISMAR-Adjunct.2016.0051.

[14] G. B. Petersen, G. Petkakis, and G. Makransky, “A study of how immersion and interactivity drive VR learning,” Computers & Education, vol. 179, Art. no. 104429, Apr. 2022, doi: 10.1016/j.compedu.2021.104429.

[15] M.-L. Ryan, “Immersion vs. interactivity: Virtual reality and literary theory,” Postmodern Culture, vol. 5, no. 1, Sep. 1994, doi: 10.1353/pmc.1994.0044.

[16] G. Civitarese, “Immersion versus interactivity and analytic field,” The International Journal of Psychoanalysis, vol. 89, no. 2, pp. 279–298, Apr. 2008, doi: 10.1111/j.1745-8315.2008.00030.x.

[17] E. d'Armenio, “Beyond interactivity and immersion. A kinetic reconceptualization for virtual reality and video games,” New Techno Humanities, vol. 2, no. 2, pp. 121–129, Dec. 2022, doi: 10.1016/j.techum.2022.11.001.

[18] L. Zhang, D. A. Bowman, and C. N. Jones, “Exploring effects of interactivity on learning with interactive storytelling in immersive virtual reality,” in Proc. 2019 11th International Conference on Virtual Worlds and Games for Serious Applications (VS-Games), Sep. 2019, pp. 1–8, doi: 10.1109/VS-Games.2019.8864573.

[19] H. Greber, “The effect of interactivity in immersive journalism on participating in the media and through the media,” Journalism & Mass Communication Quarterly, vol. 101, no. 4, pp. 936–959, Dec. 2024, doi: 10.1177/10776990241271089.

[20] E. Joo and J. Yang, “How perceived interactivity affects consumers' shopping intentions in live stream commerce: roles of immersion, user gratification and product involvement,” Journal of Research in Interactive Marketing, vol. 17, no. 5, pp. 754–772, 2023, doi: 10.1108/JRIM-03-2022-0089.

[21] G. McLean and A. Wilson, “Shopping in the digital world: Examining customer engagement through augmented reality mobile applications,” Computers in Human Behavior, vol. 101, pp. 210–224, Dec. 2019, doi: 10.1016/j.chb.2019.07.018.

[22] H. L. O'Brien and E. G. Toms, “The development and evaluation of a survey to measure user engagement,” Journal of the American Society for Information Science and Technology, vol. 61, no. 1, pp. 50–69, Jan. 2010, doi: 10.1002/asi.21229.

[23] D. Permadi and A. Rafi, “Developing a conceptual model of user engagement for mobile-based augmented reality games,” Jurnal Teknologi, vol. 77, no. 29, pp. 9–13, Dec. 2015, doi: 10.11113/jt.v77.6841.

[24] K. Y. Lin and T. K. Huang, “Shopping in the digital world: How augmented reality mobile applications trigger customer engagement,” Technology in Society, vol. 77, Art. no. 102540, May 2024, doi: 10.1016/j.techsoc.2024.102540.

[25] J. K. Lee, S. Lee, Y. C. Kim, S. Kim, and S. W. Hong, “Augmented virtual reality and 360 spatial visualization for supporting user-engaged design,” Journal of Computational Design and Engineering, vol. 10, no. 3, pp. 1047–1059, Jun. 2023, doi: 10.1093/jcde/qwad035.

[26] W. F. Yee, S. I. Ng, K. Seng, X. J. Lim, and T. Rathakrishnan, “How does social media marketing enhance brand loyalty? Identifying mediators relevant to the cinema context,” Journal of Marketing Analytics, vol. 10, no. 2, pp. 114–130, Jun. 2022, doi: 10.1057/s41270-022-00155-1.

[27] X. Hou, “Impact of Communication Strategy on Audience Intent to Watch: The Mediating Role of Audience Identification in the Case of the Chinese Animated Film NeZha 2,” Journal of Multidisciplinary in Humanities and Social Sciences, vol. 8, no. 3, pp. 762–779, 2025, doi: 10.14456/jmhss.2025.54.

[28] C. Figueiredo, “Narrative and visual cinematic strategies in communication design,” Procedia Manufacturing, vol. 3, pp. 4358–4361, 2015, doi: 10.1016/j.promfg.2015.07.1415.

[29] M. I. Zhabskiy and K. A. Tarasov, “Globalization of cinematographic communication,” Russian Journal of World Politics and Law of Nations, vol. 2, no. 2, pp. 74–91, 2024.

[30] T. Krysanova, “Constructing negative emotions in cinematic discourse: a cognitive-pragmatic perspective,” Cognition, Communication, Discourse, no. 19, pp. 55–77, 2019, doi: 10.26565/2218-2926-2019-19-04.

[31] S. J. McMillan and J. S. Hwang, “Measures of perceived interactivity: An exploration of the role of direction of communication, user control, and time in shaping perceptions of interactivity,” Journal of Advertising, vol. 31, no. 3, pp. 29–42, 2002, doi: 10.1080/00913367.2002.10673674.

[32] Y. Liu, K. M. Passino, and M. M. Polycarpou, “Stability analysis of m-dimensional asynchronous swarms with a fixed communication topology,” IEEE Transactions on Automatic Control, vol. 48, no. 1, pp. 76–95, Jan. 2003, doi: 10.1109/TAC.2002.806653.

[33] R. Agarwal and E. Karahanna, “Time flies when you’re having fun: Cognitive absorption and beliefs about information technology usage,” MIS Quarterly, vol. 24, no. 4, pp. 665–694, Dec. 2000, doi: 10.2307/3250951.

[34] R. Busselle and H. Bilandzic, “Measuring narrative engagement,” Media Psychology, vol. 12, no. 4, pp. 321–447, Nov. 2009, doi: 10.1080/15213260903287259.

[35] H. L. O’Brien, P. Cairns, and M. Hall, “A practical approach to measuring user engagement with the refined user engagement scale (UES) and new UES short form,” International Journal of Human-Computer Studies, vol. 112, pp. 28–39, Apr. 2018, doi: 10.1016/j.ijhcs.2018.01.001.

[36] R. Busselle and H. Bilandzic, “Fictionality and perceived realism in experiencing stories: A model of narrative comprehension and engagement,” Communication Theory, vol. 18, no. 2, pp. 255–280, May 2008, doi: 10.1111/j.1468-2885.2008.00322.x.

[37] J. M. Quintero Johnson and A. Sangalang, “Testing the explanatory power of two measures of narrative involvement: An investigation of the influence of transportation and narrative engagement on the process of narrative persuasion,” Media Psychology, vol. 20, no. 1, pp. 144–173, 2017, doi: 10.1080/15213269.2016.1142380.

Downloads

Published

2026-08-06

How to Cite

Jing Mi, & Ummu Husna Binti Azizan. (2026). Improving Engagement and Immersion with Interactive Cinematic Experiences in Mobile Virtual Reality. International Journal of Interactive Mobile Technologies (iJIM), 20(15), pp. 80–93. https://doi.org/10.3991/ijim.v20i15.62596

Issue

Section

Papers