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Sound, Space, Gravity : A Kaleidoscopic Hearing (part I)

Sound, Space, Gravity : A Kaleidoscopic Hearing (part I) How does sound in cinema evoke space? When we say sound is evoking space, what exactly is the space being referred to and where is it located? How does sound space work with the space suggested by the images? This essay proposes to explore these questions by paying close auditory attention to one of the most ´ technically innovative films of the recent decade, Gravity (Cuaron 2013). By contextualising the film's sonic achievements in a series of kaleidoscopically historical and theoretical discussions I hope to show that the ways in which cinema immerses its audience with sound is no straightforward matter; instead it involves an intricate intertwining of sound technologies, industrial conventions, perceptual habituation and the idiosyncratic way of audiovisual presentation that cinema offers. 1. I wish to thank Tom Gunning, Yuri Tsivian and Jim Lastra for their support on writing this essay. Eric Dienstfrey has read a draft and given valuable input. KEYWORDS sound space spatialisation voice vocal proxemics panning body sounds We accept seen space as real only when it contains sounds as well, for these give it the dimension of depth. ´ ´ ­Bela Balazs (1970: 207) The New Soundtrack 6.1 (2016): 1­15 DOI: 10.3366/sound.2016.0079 http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

Sound, Space, Gravity : A Kaleidoscopic Hearing (part I)

Liang, Dong
The New Soundtrack , Volume 6 (1): 1 – 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.2016.0079
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Abstract

How does sound in cinema evoke space? When we say sound is evoking space, what exactly is the space being referred to and where is it located? How does sound space work with the space suggested by the images? This essay proposes to explore these questions by paying close auditory attention to one of the most ´ technically innovative films of the recent decade, Gravity (Cuaron 2013). By contextualising the film's sonic achievements in a series of kaleidoscopically historical and theoretical discussions I hope to show that the ways in which cinema immerses its audience with sound is no straightforward matter; instead it involves an intricate intertwining of sound technologies, industrial conventions, perceptual habituation and the idiosyncratic way of audiovisual presentation that cinema offers. 1. I wish to thank Tom Gunning, Yuri Tsivian and Jim Lastra for their support on writing this essay. Eric Dienstfrey has read a draft and given valuable input. KEYWORDS sound space spatialisation voice vocal proxemics panning body sounds We accept seen space as real only when it contains sounds as well, for these give it the dimension of depth. ´ ´ ­Bela Balazs (1970: 207) The New Soundtrack 6.1 (2016): 1­15 DOI: 10.3366/sound.2016.0079

Journal

The New Soundtrack – Edinburgh University Press

Published: Mar 1, 2016

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