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

Sound, Space, Gravity : A Kaleidoscopic Hearing (part II) 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. KEYWORDS sound space spatialisation voice vocal proxemics panning body sounds HEARING A VOICE IN OUTER SPACE: PROXEMICS, ON-THE-AIR SOUND, AND THE RADIO MIC In part 1 of this article (TNS 6.1) I have detailed how the radio ´ communications in Gravity (Cuaron 2013) are all spatially located and `accurately' mapped to their relative position to the screen. This is despite The New Soundtrack 6.2 (2016): 191­202 DOI: 10.3366/sound.2016.0091 # Edinburgh University Press and the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

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

Liang, Dong
The New Soundtrack , Volume 6 (2): 191 – Sep 1, 2016
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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press and the Contributors
Subject
Film, Media and Cultural Studies
ISSN
2042-8855
eISSN
2042-8863
DOI
10.3366/sound.2016.0091
Publisher site
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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. KEYWORDS sound space spatialisation voice vocal proxemics panning body sounds HEARING A VOICE IN OUTER SPACE: PROXEMICS, ON-THE-AIR SOUND, AND THE RADIO MIC In part 1 of this article (TNS 6.1) I have detailed how the radio ´ communications in Gravity (Cuaron 2013) are all spatially located and `accurately' mapped to their relative position to the screen. This is despite The New Soundtrack 6.2 (2016): 191­202 DOI: 10.3366/sound.2016.0091 # Edinburgh University Press and the

Journal

The New Soundtrack – Edinburgh University Press

Published: Sep 1, 2016

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