Towards 3-D Sound: Spatial Presence and the Space Vacuum
Miguel Mera · Palgrave Macmillan UK eBooks · 2016
This chapter demonstrates the evolution of relationships between sound design and music in cinematic representations of the interstellar space vacuum. Mera provides a framework for understanding how audiences believe they are physically present in the represented environment and argues that, in the late 2000s, we move towards three-dimensional ( 3-D ) sound , an aesthetic and technical extension of the superfield and the ultrafield as defined by Chion and Kerins, respectively. 3-D Sound’s primary characteristic is the emancipation of music from a fixed sound-stage spatialization, resulting in greater fluidity between sound design and music. This chapter examines the relationship between two types of spatial presence, articulating both the audience’s suspension of disbelief within a film’s narrative world and the spatial presence of sound and music within a multichannel cinema environment. These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.