Field of Research


Fulldome &

Virtual Reality —



in Theory & Praxis

Despite "Immersion" is nowadays a modern term, often associated with virtual reality and/or gaming, immersion is a well known phenomenon in traditional movies: It can be described as successfully getting involved in a story/a fictional world/some kind of narration — it is a phenomena of reception. Being an individual experience there are other definitions possible: So immersion can be defined by its sensorimotor/illusive potential, too.The fulldome media is offering a more intensive (spatial) experience—even compared to stereoscopic 3D. The film expands beyond its traditional boundaries, its classical frames. The fulldome media enables or at least abets a (spatial) involvement. Instead of sitting in front of the screen (like we do in cinema) the audienceis surrounded by the movie 360° to 180° degrees. Designers and movie makers are getting a whole new set of aesthetic and narrative ways of creating their movies within the dome.The assignments of fulldome movie makers differ from traditional ways of shooting a film as well because the audience's status is about to change in the dome. The audience itself co-designs the movie/its audiovisual facets using the individuals' senses. Everybody is cutting the movie with his or her own eyes moving the head around within the dome.Fulldome movies production is much more complex than traditional workflows—movies in real footage for example are filmed via fisheye lenses or multi camera rigs. Common places to watch a fulldome  movie are modern planetaria and mediadomes. Their worldwide number is growing. The range of content is growing, too. There are fictional movies and interactive games, even VJs are using the dome for their performances.Sönke Hahn is interested in the aesthetic differences between classical and fulldome films. He is focussing on the narrative differences in theory and praxis. In his Ph.D. thesis—focussing Michel Foucault's Heterotopia—Hahn develops a definition of immersion—including controversial aspects such as narrative and (often understood as its antidote:) illusive immersion, necessary fixation of the body to immerse (to enter a world between screen and reception space) vs. physical hence (more?) involving participation (Wii for example).

  • Projects


    "Liszt — Reimagined"

    Short Movie: Fulldome (3k), 5 min.,



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    Short Movie: 16:9 (SD), Fulldome (3k),

    5 min., 2011/12


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    "Fulldome Meme"

    Music Video: Fulldome (3k), 30 sec., 2013



    Film/Serie: 16:9 (HD), Fulldome (3k), 2x5 min., 2013, Prt of dissertation Hahn's


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    "Fulldome erklärt"

    Film: 16:9 (HD), 5 min., 2014—17


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  • Talks &Workshops


    "Experimenting with a Mulitcamera Rig. Shooting Fulldome in Real Footage.

    Challenges, Problems and Workflow"

    FullDome Festival 2013,

    Carl Zeiss Planetarium, Jena


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    "Fulldome vs. 16:9" (zur differenten Gestaltung und Konzeption von Fulldome und 16:9),

    "Koordinaten Festival der räumlichen Medien 2012", FH Kiel


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  • Publications


    "Räumliche Serialität & Serialität im Raum: Narrative Potentiale im und des Urbanen — am Beispiel von Weimar" 2019


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    › read



    "Die Sechsfalt der Immersion:

    Versuch der (diskursiver) Definition eines vielschichtigen Konzeptes"


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    › read (academia.edu)



    "Fulldome vs. 16:9: Zu den Differenzen in Konzeption, Gestaltung und Produktion eines Spielfilms in der Kuppel und im klassischen Bildformat. Am Beispiel der Filmversionen von BREAKFAST."


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    › order (Amazon)

2019 S. Hahn, PhD