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Since CVR is becoming more popular and widely accessible, researchers and practitioners have been trying to address challenges such as the conflict between the viewer\u2019s freedom of choice and the creator\u2019s control over where to look, or the risk of missing key story elements due to such freedom. As part of the solution, CVR creators employ attention-guiding cues, introduce viewer interaction, and combine these two techniques into all-encompassing CVR production frameworks. However, there are very few CVR projects that embrace the various differences in the backgrounds, preferences, and expectations of each individual viewer. Further to this, they do not consider the content creator\/owners\u2019 perspective when presenting and digitizing stories from the real world, especially when considering viewer\u2019s connection to the cultural significance contained. In this article, a case study is presented to explore the use of\n            <jats:italic>adaptability to viewer situations<\/jats:italic>\n            and the\n            <jats:italic>coherence to M\u0101ori<\/jats:italic>\n            (the indigenous people of New Zealand)\n            <jats:italic>storytelling contexts<\/jats:italic>\n            in CVR experiences. In the case study, we began with co-design sessions with storytellers from Te Rau Aroha Marae (an active M\u0101ori cultural heritage site in the deep south of New Zealand), about appropriate features to collect from visitors to a virtual\n            <jats:italic>storytelling event<\/jats:italic>\n            , then co-built personas as representative tools. 360-degree videos of p\u016br\u0101kau (stories) were then captured and presented via an adaptable VR system. Evaluations were conducted with the storytellers to validate the system and to collect reflections and opinions on both the use of CVR in M\u0101ori storytelling and the cultural appropriateness of CVR with adaptability. We conclude this article with a discussion of possible improvements for future CVR frameworks.\n          <\/jats:p>","DOI":"10.1145\/3647996","type":"journal-article","created":{"date-parts":[[2024,2,12]],"date-time":"2024-02-12T12:06:27Z","timestamp":1707739587000},"page":"1-25","update-policy":"https:\/\/doi.org\/10.1145\/crossmark-policy","source":"Crossref","is-referenced-by-count":9,"title":["Applying Cinematic Virtual Reality with Adaptability to Indigenous Storytelling"],"prefix":"10.1145","volume":"17","author":[{"ORCID":"https:\/\/orcid.org\/0000-0002-1275-4948","authenticated-orcid":false,"given":"Lingwei","family":"Tong","sequence":"first","affiliation":[{"name":"HIT Lab NZ, University of Canterbury, Christchurch, New Zealand"}]},{"ORCID":"https:\/\/orcid.org\/0000-0002-0637-7701","authenticated-orcid":false,"given":"Robert W.","family":"Lindeman","sequence":"additional","affiliation":[{"name":"HIT Lab NZ, University of Canterbury, Christchurch, New Zealand"}]},{"ORCID":"https:\/\/orcid.org\/0000-0002-9585-0723","authenticated-orcid":false,"given":"Heide","family":"Lukosch","sequence":"additional","affiliation":[{"name":"HIT Lab NZ, University of Canterbury, Christchurch, New Zealand"}]},{"ORCID":"https:\/\/orcid.org\/0000-0001-6972-0303","authenticated-orcid":false,"given":"Rory","family":"Clifford","sequence":"additional","affiliation":[{"name":"HIT Lab NZ, University of Canterbury, Christchurch, New Zealand"}]},{"ORCID":"https:\/\/orcid.org\/0000-0002-5037-6407","authenticated-orcid":false,"given":"Holger","family":"Regenbrecht","sequence":"additional","affiliation":[{"name":"Department of Information Science, University of Otago, Dunedin, New Zealand"}]}],"member":"320","published-online":{"date-parts":[[2024,3,26]]},"reference":[{"key":"e_1_3_3_2_2","doi-asserted-by":"publisher","DOI":"10.1145\/3423186"},{"key":"e_1_3_3_3_2","volume-title":"Red Tail Ep.1","author":"Archive Kaohsiung Film","year":"2021","unstructured":"Kaohsiung Film Archive. 2021. 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