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Digital 3D and the Contemporary Soundtrack: Competing Cinema Spaces

Digital 3D and the Contemporary Soundtrack: Competing Cinema Spaces 3D film allows filmmakers to create visual imagery that is no longer bound to the single plane of the screen. Often occupying the z-space, 3D imagery provides a suture beyond the narrative, by placing the audience within the frame. Although surround sound has been described as being 3D, and new immersive sound technologies are marketing themselves as being 3D, is the contemporary cinema soundtrack homogenous with the 3D imagery? As the image and the sound occupy two individual volumes within the cinematic z-space, the relationship between image and sound is fracturing, highlighting a dislocation. The relationship between the imagery and the soundtrack is being challenged with the added dimension of the visuals. This paper investigates the spatial relationship of 3D film sound and vision within contemporary 3D cinema. INTRODUCTION Stereoscopic 3D filmmaking allows filmmakers to rethink the use of the cinematic frame. The increased depth of the 3D image has added to the complexities of framing the accompanying soundtrack. With 2D having height and width defined by X-Y coordinates, 3D additionally has both The New Soundtrack 6.1 (2016): 63­76 DOI: 10.3366/sound.2016.0083 # Edinburgh University Press and the Contributors www.euppublishing.com/journal/sound KEYWORDS 3D surround sound immersion stereoscopy film industry film http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

Digital 3D and the Contemporary Soundtrack: Competing Cinema Spaces

Candusso, Damian
The New Soundtrack , Volume 6 (1): 63 – Mar 1, 2016
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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press and the Contributors
Subject
Articles; Film, Media and Cultural Studies
ISSN
2042-8855
eISSN
2042-8863
DOI
10.3366/sound.2016.0083
Publisher site
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Abstract

3D film allows filmmakers to create visual imagery that is no longer bound to the single plane of the screen. Often occupying the z-space, 3D imagery provides a suture beyond the narrative, by placing the audience within the frame. Although surround sound has been described as being 3D, and new immersive sound technologies are marketing themselves as being 3D, is the contemporary cinema soundtrack homogenous with the 3D imagery? As the image and the sound occupy two individual volumes within the cinematic z-space, the relationship between image and sound is fracturing, highlighting a dislocation. The relationship between the imagery and the soundtrack is being challenged with the added dimension of the visuals. This paper investigates the spatial relationship of 3D film sound and vision within contemporary 3D cinema. INTRODUCTION Stereoscopic 3D filmmaking allows filmmakers to rethink the use of the cinematic frame. The increased depth of the 3D image has added to the complexities of framing the accompanying soundtrack. With 2D having height and width defined by X-Y coordinates, 3D additionally has both The New Soundtrack 6.1 (2016): 63­76 DOI: 10.3366/sound.2016.0083 # Edinburgh University Press and the Contributors www.euppublishing.com/journal/sound KEYWORDS 3D surround sound immersion stereoscopy film industry film

Journal

The New Soundtrack – Edinburgh University Press

Published: Mar 1, 2016

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