Lighthouse Immersive announced Thursday that it has struck a major deal with Walt Disney Animation Studios, which has granted the Canadian company access to its entire canon of films from “Steamboat Willy” to “Encanto” and everything in between.
The new exhibit, “Disney Animation: Immersive Experience” will premiere in Toronto this December before touring globally in 2023.
As the sector grows, so too its choruses of supporters — and critics. Some praise how the technology has democratized art, making it more accessible to a younger generation of audiences. Others lament how the form has appropriated and diluted the original pieces, questioning whether these projections are “art” in themselves.
Soon after, similar exhibitions proliferated around the world. Toronto’s own immersive Van Gogh attraction, produced by Lighthouse Immersive, opened in June 2020, before touring across North America. In total, the Canadian production company has sold more than 5 million tickets to the exhibition across the continent.
“The collaboration with Lighthouse Immersive is a first for Disney Animation,” said Clark Spencer, president of Walt Disney Animation Studios. “It’s a dream to bring the best of animated storytelling together with the top experts in the immersive art experience.” In Toronto, Lighthouse Immerse actively recruits social media influencers to promote “Immersive Van Gough,” in exchange for “some serious freebies,” according to the company website. And at the exhibits themselves, visitors are encouraged to scan QR codes, which bring them to custom-designed Instagram filters that enhance how visitors capture their experience.
For experts in the industry, the burgeoning projection-mapping sector blurs the lines of various forms of arts and entertainment. Is it truly art or closer to a theme park experience? Though immersive art exhibits are priced at comparable rates to traditional art galleries or museums they aren’t necessarily targeting the same audience, both Barker and Dubois stressed.
As with the immersive entertainment industry itself, production companies are just “scratching the surface” of what the technology can do, said Noah J. Nelson, publisher of No Proscenium, a publication focused on the immersive art and entertainment industry.
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