@article{50163,
      author = {Gibson, Johanna,},
      url = {http://tind.wipo.int/record/50163},
      title = {Is copyright some kind of funhouse? The literary work of  character, storyworlds, and the play of adaptation},
      abstract = {As this issue goes to press, we are in the middle of  awards season after a year of strong box office  performances and reports of audiences returning to the  theatre experience in encouraging numbers.2 Over the past  12 months, the Hollywood blockbuster has spawned not only  new memes and hashtags,3 but also a burgeoning industry of  so-called immersive experiences. Immersive experiences are  delivered through a range of mechanisms from virtual and  augmented reality through to the design of the experience  environment, such as three-dimensional elements and the  performers themselves. They have become ‘one of the  fastest growing sections of the leisure industry and they  play a major role in shaping societies and culture’.4  Immersive technologies in the film industry include  everything from the use of sound through to visual effects.  And the production of immersive experiences in marketing  various consumer industries, from electrical goods to  fashion, deploys a range of immersive media and gaming  elements in order to increase engagement and promote  purchases.5 But as a product themselves, immersive  experiences, or so-called ‘real entertainment’,6 have  created new opportunities for both successful  collaborations as well as reputationally damaging  exploitations.  But like a visit to Willy Wonka’s  chocolate factory, or being spirited back on roller skates  to Barbieland, is the immersive experience quintessentially  a cinematic theme park? Indeed, is cinema itself the  original immersive experience,7 before immersive videogames  and the metaverse? Some kind of funhouse8 perhaps? Are we  having fun?},
      recid = {50163},
      pages = {1 online resource (pp. 107-121)},
}