Shaping OTT Movie Consumption through Immersive Cinema: A Qualitative Investigation of Consumer Perspectives

Abstract

Due to the COVID-19 pandemic, the entertainment sector saw a worldwide disruption with restrictions on outdoor activities. Consequently, consumers turned towards video and music streaming services for their entertainment consumption. Several film studios have taken the digital release route on over-the-top (OTT) sites to avoid revenue losses and indefinite delays. However, these non-theatrical OTT film releases need to experiment with different strategies to bring the experiences to par with theatrical ones. This exploratory study aims to provide insights on whether Immersive Cinema can be used to imitate the physical world through digital simulation on OTT platforms to gain credibility in a competitive entertainment market. We conducted semi-structured, qualitative interviews with 21 consumers and Focus Group Discussions with 14 MBA students to understand perspectives about Immersive Cinema consumption on OTT platforms and its potential when compared to traditional theatrical releases. Using the findings of this study, OTT platforms can curate their new films as a direct alternative to theatrical releases.

Keywords

Movie Consumption Over-the-Top (OTT)Thematic Analysis Consumer Experience Immersive Technology Online Entertainment

Introduction

Over-the-top services (OTT) refer to any video media that allow consumers to consume entertainment directly over the internet on devices such as smartphones, smart TVs, laptops, tablets, etc. (PricewaterhouseCoopers, 2021). Confined to their homes due to the COVID-19 pandemic, 69.8 million households used OTT platforms in April 2020 (Comscore, 2020). The global OTT market is expected to generate around US$150 billion in 2022 (Palan, 2022). This steady growth in subscription-based OTT services can be attributed to the easy availability of high-speed internet, improved smartphone penetration and affordable subscription packages (Gupta & Singharia, 2021).

Currently, India is the fastest-growing OTT market in the world. Several movie studios released their films directly on these OTT platforms to avoid time delays and revenue losses amid the pandemic. In 2020 and 2021, OTT platforms bought exclusive streaming rights to several new movies. OTT releases also proved to be much more pocket friendly. In 2021, the monthly subscription for Netflix was ₹199 for a single device, and multiple people could watch a movie with that single subscription pack (The Indian Express, 2021). However, the average cost of watching a film at a theatre for a family of four was around ₹840. Despite the benefits provided by OTT movie releases, Indian consumers have traditionally been accustomed to watching new releases at cinema theatres only. Consumers’ satisfaction or dissatisfaction with a particular service result mainly from comparing the current performance with predetermined performance standards (Ayanso et al., 2015). With respect to movie consumption, consumers are accustomed to theatrical experiences on the big screen with high-quality pictures and sound effects. IMAX screens in big-chain multiplexes have high-resolution projectors, providing viewers with wholesome viewing experiences. As more films opt for OTT releases, viewers will compare these films with theatrical ones and confirm their satisfaction or dissatisfaction based on the standards set by their previous theatrical experiences. Thus, OTT platforms must create experiences that viewers enjoy as much as theatrical ones, when, where, and how they want.

Due to the restriction on outdoor social activities amid the pandemic, most people turned to digital means for their physical and mental well-being. Touted to be the next significant development in the IoT (Internet of Things) market, Immersive Technology was heavily used in this endeavour because of its engrossing, experiential and interactive characteristics (Cipresso et al., 2018) across industries such as education (Kerawalla et al., 2006), healthcare (Bowman et al., 1997) and retail (Yim et al., 2017). Immersive Technology is an umbrella term for automation that creates captivating experiences by combining the physical world with simulated reality through human-machine interactions (Rauschnabel, 2018). When used in cinema, Immersive Technology can create a new reality, remove geographical barriers, and enhance the movie consumption experience (Blodgett-Ford, 2018) by transforming the art of storytelling into that of story-living (Daut, 2020; Dowling, 2019). Using Immersive Technology, cinema is not restricted to just painting a plot on-screen for passive consumption.

On the contrary, such movies can evoke deep emotions with the on-screen narrative and a sense of presence within the story. Such films fall under Immersive Cinema, where the lines between physical and cognitive spaces are blurred to create a projected, virtual world where consumers are active participants. According to industry reports, OTT platforms would also foray into immersive experiences using 5G internet and produce high-resolution videos with minimal latency (James, 2020). 360-degree streaming would allow viewers to enjoy virtual experiences from the comfort of their homes without opting for outdoor entertainment. Movie consumption will be improved by better connectivity and data speeds, and consumers can immerse themselves in the story entirely through Immersive Technology.

However, while industry trends predict a positive future for immersive content on OTT platforms, the mainstream adoption of such new forms of entertainment is still at a preliminary stage. To the best of our knowledge, previous academic literature has not focused explicitly on consumers’ opinions, experiences and expectations regarding Immersive Cinema. In addition, how OTT platforms can cater to the changing consumer entertainment consumption patterns has not been explored. Thus, this research investigates (a) consumers’ perspectives about Immersive Cinema on OTT platforms; (b) the strategies that OTT platforms can design for Immersive Cinema releases. The motivation for our study was based on preliminary findings with respect to industry reports on Immersive Entertainment and how OTT platforms are foraging into new forms of storytelling catered to consumer preferences. The topic is essential for an academic investigation because Immersive Cinema is yet to become popular in the Indian market, and the literature on movie releases on OTT platforms has not received much scholarly attention yet. So, we aim to contribute to this domain, which lacks academic literature. From an industrial perspective, addressing this gap would provide content producers a guide to mapping consumer perspectives and strategizing the use of Immersive Cinema to give theatrical-like experiences on OTT platforms.

The remainder of this article is structured as follows— the second section gives an overview of the literature on Immersive Technology, movie consumption and customer experience. In the third section, we discuss the method used to conduct the study, and in the fourth section, we present the research results. The fifth section provides the conclusions, implications, limitations and further research directions. In the subsequent sections, the terms Immersive Cinema and Immersive Movie will be used interchangeably.

Literature Review

Immersive Technology in the Entertainment Industry

According to past literature (Milgram & Kishino, 1994; Sherman & Craig, 2019; Wang et al., 2018), Immersive Technology is defined as the super-set which includes the entire reality—virtuality continuum, with multiple variations and compositions of real and virtual objects. The two core features of such technology have been identified as immersion and interactivity (Radianti et al., 2020; Sherman & Craig, 2019). Immersion allows consumers to be conscious of the digital world and the sensation of being in a new environment (Tom Dieck & Han, 2022). Interactivity is the user’s reciprocal exchange with the objects of the medium (Milgram & Kishino, 1994; Pan & Hamilton, 2018). With Immersive Technology, users are not constrained to predetermined viewpoints but can position themselves in the appropriate environment and change perspectives through the interactive feature of XR (Berg & Vance, 2017; Whyte & Nikolić, 2018). Immersive Technology can increase consumer engagement, engrossment, emotional involvement, and sensory-motor submergence with the on-screen content (Agrawal et al., 2020; Amar et al., 2021; Phillips-Wren et al., 2022; Zhuang, 2021). Sensual stimulation through enhancement of touch, hearing, and sight can help consumers engage in real-time, computer-generated content, irrespective of distance (Chuah et al., 2016; Makransky & Mayer, 2022; Rauschnabel, 2018). The subjective feeling of being in a particular virtual environment, even when a consumer is physically situated in another, can allow consumers to create their own worlds with their favourite content (Herz & Rauschnabel, 2018; Zahabi & Abdul Razak, 2020).

Customer Experience and Expectations in the Service Industry

Customer experience has been described as an internal and subjective response elicited in customers through direct or indirect contact with an organization (Meyer & Schwager, 2007). According to Rawson et al. (2013), the entire journey of customer interactions leads to a complete customer experience. Customer experience may be described as good (pleasurable) or bad (un-pleasurable), which can lead to positive or negative responses concerning multiple factors such as satisfaction, value, quality, purchase intentions, loyalty, so on (Verhoef et al., 2009). Experiential memories are slowly gaining more prominence because these help in creating favourable or unfavourable responses towards products or services (Prahalad & Ramaswamy, 2004). While past literature has focused on measuring customer experience as purchase intention, satisfaction, loyalty or word-of-mouth (Berry & Carbone, 2007; Carbone & Haeckel, 1994; Crosby & Johnson, 2007; Prahalad & Ramaswamy, 2004; Rawson et al., 2013; Schmitt, 1999; Verhoef et al., 2009; Wong & Sohal, 2003), future metrics could also focus on measuring customer experience in terms of experience value, experiential memories, experiential quality and experiential satisfaction with a particular product or service (Vargo & Lusch, 2008). Past literature (Tyron, 1994; Zeithaml et al., 1993) defines consumer expectations as an anticipation of a product or service based on previous experiences or standards of performance of a past reference point. Based on factors such as exposure to promotional content (Bebko et al., 2006; Kopalle & Lehmann, 1995), word of mouth (Bagozzi & Dholakia, 2006; Herr et al., 1991), advertisement (Kirmani, 1997; Rao, 2005; Teas & Agarwal, 2000) and prior knowledge, consumers form a reference point to compare the performance of a new product or service (Carman, 1990). Consumers can know what to expect from their viewing experiences if a service is consumed frequently. Conversely, consumers find it challenging to make meaningful purchasing choices when they do not have sufficient information about a service. In such cases, consumers are more dependent on feedback from others.

Movie Releases on OTT Platforms

While movie consumption has traditionally been associated with theatrical releases, in current times, movie viewing outside the purview of theatres has increased significantly (Taneja, 2020). The main factors that have enabled a change in entertainment consumption patterns of the audience are service expenses, offers or incentives, content preferences, the convenience of viewing, and the easy availability of telecom services (Jose, 2020). Movie consumption has grown exponentially in mobile domains through flexible access to different content and media channels that consumers can access (Aveyard, 2016). However, the research on the widespread practice of movie consumption outside cinemas is very under-theorized (Pardo, 2015). There is a dearth of academic literature on the practice of watching movies through digital, internet and mobile media (Hanchard et al., 2019).

Gaps in Literature

Previous literature has discussed that Immersive Technology can shape the future of storytelling and blend fiction with reality (Ceuterick & Ingraham, 2021; Lages, 2021; Ogden, 2019). Academic studies also mentioned that Immersive Technology could bring differentiation in entertainment strategies amid the competition from multiple media sources (Abrol, 2022; Oriti et al., 2021; Porges, 2019). But we could not find any original academic research on Immersive Cinema releases specifically, despite their promising features. While past academic literature has addressed the importance of experiential experiences for consumers, there is a lack of understanding of how Immersive Cinema can act as an alternative for theatrical releases as OTT platforms. It is crucial to consider consumer expectations before designing new content strategies. While consumer expectations have been studied in the context of the motion movie industry (Finsterwalder et al., 2012), no academic studies have explicitly been placed against the backdrop of OTT movie releases.

Thus, to address these gaps, we aimed to understand:

How do consumers react to Immersive Cinema Consumption on OTT platforms?

What do consumers expect from future strategies concerning Immersive Cinema Consumption on OTT platforms?

An exploratory paradigm was chosen to answer these questions, given the novelty of this topic and the limited academic research on customer perspectives on Immersive Movie consumption on OTT platforms.

Theoretical Underpinning

Using theory to support qualitative interpretive research is highly significant for understanding the social context in which a particular study is based. We also intended to explain the ‘how’ and ‘why’ of our findings through a theoretical lens (Slavich & Zimbardo, 2012). Theoretical lenses are used to help in the interpretation and analysis of data in research. We chose the expectation confirmation theory (or ECT) as our underpinning theory because it explains post-purchase or post-adoption satisfaction as a combination of consumer expectations, perceptions and judgments (Oliver, 1980). This theory states that consumer satisfaction is directly influenced by judgments, beliefs and perceived performance about a product or service and indirectly affected by both expectations and perceived performance (Oliver, 1980). We chose this theory as our lens because ECT helps us interpret the consumer expectations, beliefs and judgments we collected and reduces the gap between our assumptions and findings in the context in which we placed our study. ECT also helps us explain our results and justifies our proposed implications.

Methodology

An interpretivist approach was followed for this research because it helped us collect information on the psychology of the customers, which is complex and different from each other’s. As the study searches to comprehend the main consumer perspectives associated with Immersive Movie consumption, interpretivism seems suitable as it emphasizes meanings and understandings constructed at social and experiential levels. We used an exploratory research technique because of a lack of research examining Immersive Cinema in the context of OTT platforms. We decided that a qualitative research approach would help us understand this nascent topic of discussion. We used within-methods triangulation to improve the quality of our research. Azungah (2018) mentioned that using several varieties of the same method, either qualitative or quantitative, to investigate a research problem could help us gain different perspectives on understanding a research problem. We conducted two qualitative studies (hereafter termed as Study 1 and Study 2) to test the validity of our research through the convergence of information from different population samples and improve the robustness of our findings.

Participants

The primary onus of this research was to find consumer experiences associated with Immersive Technology in online movie consumption. The participants were recruited through LinkedIn. A purposive cluster sampling was used to collect respondents from three groups of customers in Kolkata, Mumbai, Bangalore, and Delhi—the four major metropolitan cities in India. The participants were recruited after taking their consent to participate in the study and were given a retail gift card worth ₹500 each. Each participant in Study 1: (a) was 18 years of age or older; (b) has completed their high school degree; (c) has consumed new entertainment content on at least one OTT platform in the last 6 months. None of the participants had previous work experience in the entertainment industry. For Study 2, each participant (a) was a second year full-time MBA student, (b) had taken at least two courses in Business Management, and (c) could read and interpret industry reports.

Data Collection—Study 1

21 respondents participated in this study with a mean age of 27.66 years and a standard deviation of 5.38 years. The sample size was deemed appropriate for an exploratory qualitative study that explores the future scope of Immersive Technology usage in OTT film releases (Pantano & Priporas, 2016). The details of the participants are exhibited in Appendix 2. For Study 1, we looked into the list of movies that had applied Immersive Technology in their content strategy across Hollywood (the largest film market globally in terms of revenues) and Bollywood (the largest movie market by the number of film productions globally). We found that the Immersive Movies in Bollywood had not performed well at the box office and had poor critics’ reviews. Thus, we only considered Hollywood films on our final list (Appendix 1 inserted after the References section). Our selection criteria were to include those movies that had IMDB ratings above 5.5 and had earned more than US$25 million at the box office. We also noticed that the final 10 films we selected belonged to one of the genres of animation, fantasy or adventure. All 10 movies we selected were available for streaming on OTT platforms in India at the time of the study. The participants had not previously seen any film on the list, and the content familiarity was low. Before the study, special glasses with central processors and sensors to place viewers in a 3D video environment were given to each participant. The participants watched the films between 1 November 2021 and 10 November 2021, with a one-day gap between the two film screenings. The participants watched the movies together in a shared auditorium in Kolkata, India, on the respective OTT platforms where the films were available. After completing this exercise, we did not conduct the interviews immediately because we wanted the participants to reflect on their experiences before we questioned them.

Accordingly, semi-structured interviews were conducted between 1 December 2021, and 19 January 2022, to understand the participants’ experiences with Immersive Movie consumption.

We prepared a broad list of questions to ensure that we addressed the main aim of our study. The main questions we asked the participants were:

What did you enjoy the most in the immersive experience?

Did the immersive experience cause any problems?

What do you expect from Immersive Cinema in the future?

Each interview lasted for 30–40 minutes, and we asked follow-up questions when we felt it was necessary to keep the discussion on track. We conducted the interviews face-to-face, recorded the audio transcripts after each interview, and subsequently transcribed the audio versions into a written format in English (Rutakumwa et al., 2019).

Study 2

To complement Study 1, we conducted two Focus Group Discussions with 14 participants. The first Focus Group Discussion had 6 participants, and the second one had 8 participants (Appendix 3). Since we wanted to gain participants’ perspectives on the business side of Immersive Cinema, we recruited MBA (Masters in Business Ad- ministration) candidates from Business Schools in India because of their knowledge about management practices and industry trends. A week before the scheduled dates, the participants were given two industry reports to read—one on OTT trends and the other on Immersive Cinema. The first report was 12 pages long, and the second one was 8 pages long. Before we commenced the Focus Group Discussions, each participant confirmed that they had read the reports. We conducted the Focus Group Discussions on 24 August and 25 August 2022. To ensure that no untoward bias creeps into our study, the same two moderators conducted both the Focus Group Discussions. It was ensured that each Focus Group Discussion had a good balance of gender, age, education degrees and income levels. We began with a few ice-breaking questions and then gradually approached the main topic of discussion. The primary questions we asked were:

Where do you think the OTT industry is headed with immersive experiences?

How can immersive experiences replicate theatrical viewing from consumers’ homes?

What strategies do you think can work in Immersive Cinema?

How can Immersive Cinema cater to consumer choices?

As the participants began the discussion, the first moderator listened carefully to each person, kept the discussion focused on the main topic, and ensured that every participant got the opportunity to speak. The second moderator recorded the session on an audio tape, took handwritten notes of the entire session, and marked any changes in the body language or expressions of the participants. The first Focus Group Discussion lasted for 35 minutes, and the second Focus Group Discussion lasted for 45 minutes.

Data Analysis

For both Study 1 and Study 2, we generated the themes from the data itself. Before data analyses, each interview was transcribed and coded. As proposed by Braun and Clarke (2006), a six-step approach was followed. We read the transcripts multiple times to get familiarized with the data (Step 1), and an initial set of codes was developed (Step 2). The researchers then generated a preliminary list of themes independently of each other (Step 3) and then discussed them to create a final list of themes (Step 4). Each theme was then given a clear definition (Step 5). The detailed list of themes (Step 6) was then presented in a report format. We coded iteratively and compared our code lists to help us uncover the main themes from our interview transcripts.

We established the validity or appropriateness of our research by collecting qualitative insights from different population subgroups to incorporate greater demographic inclusion and reduce bias. We ensured the reliability or consistency of our research by recording detailed reflexive notes and ensuring inter-coder agreement before creating the final list for both studies.

Findings

Study 1—results from interviews with consumers after they viewed the 10 films on OTT platforms with Immersive Technology. We renamed participants to preserve their anonymity, as indicated in Annexure 1.

Theme 1: Satisfaction with Immersive Cinema

The core theme (1), Satisfaction, was formed from three subthemes: Riveting Narrative, Viewing Enthusiasm and Easy accessibility.

Subtheme 1: Riveting Narrative

Eighteen out of twenty-one participants believed that they felt they had become a part of the story through the use of Immersive Technology in movies. They also mentioned that Immersive Cinema captured their attention and compelled them to stay invested in how the narrative unfolded.

We don’t just watch the story; we live and breathe it. (Participant 13, 26 years, male)

I think we will be more likely to watch films that create intrigue amongst [the] audience through the interactive content to ensure that they are a part of the story. Be it OTT or theatres, such Immersive Technology is the future. We, as consumers, want more from our viewing experience. (Participant 9, 29 years, male)

Subtheme 2: Viewing Enthusiasm

Sixteen out of twenty-one participants claimed that they felt a sense of excitement with Immersive Cinema consumption on OTT platforms. These participants also mentioned that they felt that Immersive Cinema improved their moods, made them excited and kept them engrossed till the end. In fact, they felt a keen enthusiasm to watch all 10 films as planned once they grasped the benefits of Immersive Cinema.

I mean, it is super engaging, for sure. I am the hero, villain, and whoever I want to be. I just need to put my headgear and special glasses on, and I am good to go. I love how I can live the plot of a film 24/7 if OTT adapts to Immersive Cinema on a larger scale. (Participant 15, 21 years, male)

Through this exercise, I learned how much I enjoy Immersive Cinema. I wonder why more mainstream movies have not adapted to this yet. I could sense that I was excited and enthusiastic about watching these films, and my mood lifted automatically. (Participant 4, 28 years, female)

Subtheme 3: Easy Accessibility

Fourteen out of twenty-one participants mentioned that they could also engage with the content whenever convenient. They also claimed that they had started enjoying OTT movie consumption more than theatrical experiences because they could safely stay home during the pandemic and not risk catching the virus at a public gathering like a movie theatre.

Immersive Cinema is beneficial because it gives us a better experience from our homes or other remote locations. I would rather watch a film on my laptop than go out during the pandemic. (Participant 5, 33 years, male)

I am used to OTT now, thanks to two years of COVID, and I would rather watch films from the comfort of my room, and with Immersive Technology, it’s even better! (Participant 8, 24 years, female)

Theme 2: Dissatisfaction with Immersive Cinema Consumption

The core theme (2) Dissatisfaction, comprised of four subthemes. These are Fixation with Immersive Cinema, Detachment from in-person communication, Need for self-esteem and Psychological Unrest. All 21 participants said they had gone back to watching more immersive content, even after completing this exercise with 10 films.

Subtheme 1: Fixation with Immersive Cinema

Thirteen out of twenty-one participants mentioned that they had suffered from a lack of concentration and focus on their work, as they were more eager to watch films than engage in productive activities. They also felt extreme dependence on such entertainment as an escape route from their mundane lives once they got acquainted with Immersive Cinema.

That is all I wanted to do for a while. I didn’t want to study or work. I just wanted to watch more and more content and interact with the characters on-screen. Often, my dinner would lie out cold, and I would be so engrossed that I would forget to eat. (Participant 6, 19 years, male)

Subtheme 2: Detachment from In-person Communication

Twelve out of twenty-one participants stated that they sensed that they were more interested in engaging with entertainment than taking the effort to maintain real-life connections. The participants claimed that it was easier to enjoy films at home and said they did not want to waste time meeting people or interacting with them.

I am a finance student, and it gets so dull at times. Immersive Technology makes our boring lives so much better. I would rather watch a film than encounter fake interactions with people daily at college. (Participant 11, 20 years, male)

Through Immersive Cinema, we enjoy some time away from the boredom of our regular activities. I don’t need to meet my friends in person when I can chill at home comfortably. I sometimes did not speak to Dad and just stayed in my room with my laptop and headphones. (Participant 20, 30 years, male)

Subtheme 3: In Need of Self-esteem

Ten out of twenty-one participants stated that they experienced a sense of inferiority complex after using Immersive Technology for long hours. They suffered from poor self-esteem after continued usage of immersive entertainment because they felt their own lives disappointed them when they drew comparisons with the on-screen characters (Wong et al., 2020). These participants had repeatedly consumed Immersive Movie experiences after viewing the 10 films we had organized for them before the interview process.

I was obsessed with copying my favorite actress’s look and multiple characters. I had no will to stop, even when I was tired. I just wanted to feel as beautiful as the character on-screen. But I also think that I lost the value of my own identity for some time. (Participant 4, 28 years, female)

I felt poorly about myself. No matter how I interacted within the movie settings, I could sense that I was a failure in real-life. I was a regular Joe, and there was nothing special about me. (Participant 18, 21 years, female)

Subtheme 4: Psychological Unrest

Nine out of twenty-one participants agreed that they related to the characters’ feelings depicted on-screen when they were introduced to stories that showcased a vast range of emotions. Few of these participants also claimed that they started behaving differently after continued exposure to Immersive Cinema. These participants categorically expressed that they could deeply sense feelings such as romance, happiness, fear and sadness as the plot progressed because Immersive Technology made these feelings look real. Every emotion appeared amplified in Immersive Cinema.

When we engage in Immersive Technology through movies, we expect to become a character in the story. I tried to emulate the alpha female character, who was utterly badass on-screen. (Participant 1, 31 years, female)

The love that the romantic leads shared was so pure. I could feel my heart swell and a crushing sense of sadness when the hero died. I cried non-stop because I refused to believe it was just a story. I thought that this was real, and my heart ached for days. (Participant 18, 21 years, female)

Results from Study 2

Study Two—results from focus group discussions with MBA students in Indian B-schools. We used pseudo names for the participants to preserve anonymity, as shown in Annexure 3.

Theme 1: Consumer Expectations with Content Strategies

The respondents were asked to provide insights on what they expected from the Immersive Movie Experiences in the future. They mentioned Independent OTT productions, Focus on Realistic Stories, Dedicated Archive for Children and Familiarizing Consumers as the main strategies online film releases should emphasize to meet consumer expectations.

Subtheme 1: Independent OTT Productions

Participants said that if OTT platforms intended to bring their original releases to par with theatrical films, there could be a focus on experimentations with exclusive film franchises using Immersive Technology. In fact, OTT platforms can create their own characters and weave plots around them. As the most prominent players in the OTT market are also foraging into independent movie production, creating film franchises using Immersive Technology could improve viewers’ consumption experiences and encourage them to subscribe to OTT platforms in place of theatrical visits.

OTT platforms are increasingly investing in their own films. These independent productions could use Immersive Technology to give viewers a metaverse-like experience from the comfort of their homes. (Donna)

I think Immersive Cinema opens opportunities for OTT platforms to create their own independent productions. OTT platforms could create their films with exclusive characters and give us new characters like a franchise chain. I would love to watch such films on OTT and get something new from my consumption experience on these platforms. (Andy)

Subtheme 2: Focus on Realistic Stories

Respondents mentioned that they would like to see Immersive Cinema being used to depict stories that are more grounded in reality and not just restricted to fantasy or adventure stories. They said that highlighting problems such as poverty, education, gender issues and LGBTQA rights could educate people and also encourage discussion on these topics.

Immersive Cinema in genres like fantasy and larger-than-life stories has been typical in the past. But, Immersive Cinema can bring the focus on social realities such as poverty, the need for education, women empowerment, and minority representation. I enjoy these new stories, and films on OTT could focus on such issues. (Esme)

I really love how same-sex love is shown in an empathetic manner on OTT. Gay and transgender actors are also getting lead roles on OTT. Immersive Cinema can help viewers empathize or feel the characters’ love in a more authentic and humane approach. (Ted)

Subtheme 3: Dedicated Archive for Children

Participants mentioned that they wanted a dedicated section for children using Immersive Cinema. In fact, few participants wanted OTT sites to leverage the opportunity provided by Immersive Cinema and create age-appropriate content for minors.

I want to see more content for kids. Unfortunately, sometimes kids watch age-inappropriate content unintentionally. This must be avoided at all costs by having separate sections for kids and keeping content locks on the adult sections. The market for children is still unexplored, and I would love to see OTT platforms take the initiative by using immersive experiences. (Bella)

Participants also mentioned that children would enjoy Immersive Cinema immensely and could learn new knowledge from these experiences. Such content would give them a respite from their studies and provide them with some enjoyment if they are stuck at home due to the effects of the pandemic.

I feel children would especially enjoy the wonders of Immersive Cinema. Many children are still attending online classes, and it would help them to get some relaxation from boredom through such cinema. In fact, such movies could help children get more engaged and learn new things more easily. (Nate)

Subtheme 4: Familiarizing Consumers

Participants mentioned that OTT platforms should position new film releases directly as competitors of theatrical movies to increase familiarity in the minds of consumers. These participants said that Immersive Technology could be incorporated into promotional tours, interviews, behind-the-scenes footage or extended previews. Such experiences would be more interactive and enjoyable for viewers, and they would get more interested in watching the films when they release.

I do not want to miss out on interviews and fun games that film stars play as a part of the promotion. It would be great if OTT platforms could use Immersive Technology in these endeavors. (Bella)

To familiarize consumers with new films released on OTT platforms, there should be a heavy emphasis on promoting these as extensively as movie studios would promote their big-budget movies. (Colin).

Based on these findings, we present a diagrammatic representation of the main themes and subthemes in Figure 1.

Figure 1.

Source: The authors.

Discussion

The main goals of this research were to explore the opinions of consumers about Immersive Movie Consumption on OTT platforms. Specifically, we had two objectives. First, we investigated the primary reactions of consumers concerning Immersive Cinema. Our insights show that consumers enjoyed the Riveting Narrative, Viewing Enthusiasm and Easy accessibility associated with these new releases on OTT platforms. These findings are corroborated by past literature (Daut, 2020; Dowling, 2019; Herz & Rauschnabel, 2018; Rauschnabel et al., 2022) that mention the positive effects of Immersive Entertainment. Concerning dissatisfactions, consumers noted that they experienced Fixation with Immersive Cinema, Detachment from in-person communication, In need of self-esteem and Psychological Unrest when they continued to engage with such movies. Due to the changing entertainment scenario during the pandemic, OTT platforms emerged as a primary entertainment choice with easy accessibility, affordable pricing, and new styles of content. Immersive Cinema can be created and distributed on OTT platforms as an alternative to theatrical releases. However, as our results show, consumers tend to get too involved or engaged with immersive content, and OTT platforms have to ensure that there are no detrimental impacts on viewers before the mainstream adoption of Immersive Cinema. Second, we explored potential content strategies for Immersive Cinema through Focus Group Discussions with MBA students in Indian B-schools. The main strategies OTT platforms could follow in content production were creating independent movie productions, making content for children exclusively, and shifting towards more realistic plotlines using Immersive Cinema. These new and unique insights that we got from our study were not addressed in past academic research to the best of our knowledge.

Academic Contribution

Expectancy Confirmation Theory, which is our theoretical lens for this study, shows how consumers determine their post-consumption experiences. A consumer’s reference frame for evaluating any experience consists of likes, dislikes, feelings, experiences and beliefs while comparing two services. ECT also states that consumers explain their post-consumption satisfaction regarding expectations, perceived performance, and judgments or beliefs about a new product or service (Oliver, 1980). Study 1 findings highlight the main satisfaction (Riveting Narrative, Viewing Enthusiasm and Easy accessibility) and dissatisfaction (Fixation with Immersive Cinema, Detachment from in-person communication, In need of self-esteem and Psychological Unrest) that consumers experienced in Immersive Cinema Consumption. Participants specified these experiences by comparing OTT releases and theatrical releases. They claimed that while they were satisfied with multiple aspects of Immersive Cinema, they also felt that they could be addicted to such films because of their easy availability on these platforms. Even the future expectations, like Independent OTT productions, Focus on Realistic Stories, Dedicated Archive for Children and Familiarizing Consumers that participants mentioned in Study 2, were based on participants’ previous preferences, experiences and knowledge. This study corroborates the existing theory of ECT, in a new context.

Further, our study improves the understanding of consumers’ perspectives on Immersive Cinema releases on OTT platforms. First, participants of our research mentioned that once they experienced Immersive Cinema, they continued to consume such movies regularly and even suffered from short-term addiction to immersive content. They said that due to a lack of awareness of immersive media usage, they did not understand the implications associated with the overu se of such technology. This prompted us to suggest our first proposition for academia:

Proposition 1: Lack of proper guidance can lead to consumers’ overconsumption of Immersive Cinema on OTT.

Second, consumers expect Immersive Cinema to emerge as a separate entertainment category gradually. While OTT platforms are slated to grow as a primary choice for viewers over the next few years, Immersive Cinema needs to be promoted and distributed as an alternative to theatrical releases. This brings us to our second proposition for academia:

Proposition 2: Using Immersive Technology in movie releases can pitch OTT platforms directly against theatrical releases in the future.

Third, consumers also mentioned the need for new storytelling styles on OTT releases and Immersive Cinema’s use to highlight social issues and entertainment for children. They said that Immersive Cinema had been used in the adventure-fantasy genre mainly in the past, and OTT platforms could experiment with new forms of content using such technology.

Proposition 3: Immersive Cinema releases on OTT platforms must experiment with new genres and storytelling.

Practical Implications

Our research provides multiple implications for content producers and marketing managers working on OTT platforms. First, OTT platforms could experiment with various viewing formats like 180-degree and 360-degree videos (Kaplan-Rakowski & Meseberg, 2019). For the 180-degree videos, consumers can look within the view of a half-circle (i.e. 180 degrees) to allow for a seamless consumer experience, where they do not have to spin their heads or bodies to adjust to the screen. For 360-degree videos, consumers can see a video from every possible direction and control their presence in the on-screen panorama view (Rowell, 2019). OTT platforms could allow viewers to choose the degree of immersion they are comfortable with. Second, OTT platforms need to create age-appropriate content for children using Immersive Cinema, which is monitored by parental supervision. Third, because of the low awareness around Immersive Movie consumption, marketers and content producers are advised to work closely to provide consumers with information about the safe and correct use of Immersive Cinema on OTT platforms. Fourth, Immersive Cinema should explore new storylines according to consumer preferences. Immersive Cinema has the potential to place OTT releases directly in competition with theatrical releases and provide superior-quality consumption experiences according to the convenience of viewers. Fifth, OTT producers need to regulate Immersive Cinema, particularly regarding usage regulations, so that consumers do not become addicted to such content. Recent studies show that due to the impacts of the COVID-19 pandemic, consumers are looking for new entertainment choices (Bapna, 2021). Consequently, OTT services have to expand their range of offerings to order to keep subscribers entertained. Immersive Cinema can potentially improve users’ consumption experiences and can be used as a strategy by OTT platforms.

Limitations

The study has several limitations which need to be considered while interpreting the findings of this study. In terms of sampling, the study was mainly based in the Indian context. This research is designed as an exploratory qualitative one, providing insights into customers’ experiences with Immersive Movie consumption. However, this research’s findings need corroboration using quantitative methods to generalize.

Future Scope

Several avenues for future researchers emerged from this study. First, there is a need to test the different strategies for the application of Immersive Technology to identify how the content can be designed efficiently to give a theatrical-like experience. Second, research on consumers’ acceptance of OTT Immersive Movie releases should be conducted using tools like concept mapping for a visual representation. Third, we should investigate consumers’ willingness to pay (WTP) for immersive entertainment and create con- sumer segments according to their preferences. Besides, cross-cultural comparison between different entertainment markets can also help gain deeper insights into this new trend. Fourth, future researchers could focus on immersive content in other non-theatrical entertainment sources such as web shows, reality shows, sports, etc. Fifth, this study did not conduct any analysis based on differences between genders, age groups, incomes or education levels. Future researchers could investigate whether these characteristics could account for significant differences in OTT movie consumption experiences.

Footnotes

Declaration of Conflicting Interests

The authors declared no potential conflicts of interest with respect to the research, authorship and/or publication of this article.

Funding

The authors received no financial support for the research, authorship and/or publication of this article.

Appendix

Appendix 3.

Details of Focus Groups.

Focus Group Discussion No.	Number of Females (with Pseudo names)	Number of Males (with Pseudo names)	Age Group
1	4 • Donna • Minerva • Bella • Helena	4 • Harry • Edward • Sam • Dean	22–25 years
2	4 • Jessica • Angela • Esme • Renee	6 • Ted • Colin • Jonathan • Nate • Charlie • Andy	26–28 years

Source: The authors.

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