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The Address of the Ass: D-BOX Motion Code, Personalized Surround Sound, and Focalized Immersive Spectatorship

The Address of the Ass: D-BOX Motion Code, Personalized Surround Sound, and Focalized Immersive... The Address of the Ass: D-BOX Motion Code, Personalized Surround Sound, and Focalized Immersive Spectatorship christina g. petersen on april 3 , 2009, the ne west iter ation the space of the film, D­BOX’s motion effects of immersive cinema technology quietly rolled prompt the spectator’s body to mirror those into two American multiplexes—the Mann Chi­ bodies depicted on the screen and identify with nese in Los Angeles and the UltraStar Surprise a particular point of view. Pointe in Surprise, Arizona (Harris). In both As opposed to notions that immersive cin­ theaters, Fast & Furious (2009) debuted with ema, and by extension D­BOX, is often focused the option for audiences to experience the on haptic thrills rather than narrative coher­ film in D­BOX motion code. Select spectators ence, through analyses of recent films featur ­ paid a premium to “live the action” through ing motion­code tracks, including Whiplash D­BOX’s patented motion effects and specially (Damien Chazelle, 2014), Furious 7 (James equipped seats in an update of Hale’s Tours Wan, 2015), Lucy (Luc Besson, 2014), Captain (1904–15) and William Castle’s Percepto. Like America: The Winter Soldier (Anthony and Joe these earlier motion­based immersive tech­ Russo, 2014), Guardians of the Galaxy (James http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

The Address of the Ass: D-BOX Motion Code, Personalized Surround Sound, and Focalized Immersive Spectatorship

Petersen, Christina G.
Journal of Film and Video , Volume 71 (1) – Mar 14, 2019
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Publisher
University of Illinois Press
Copyright
Copyright © 2008 The Board of Trustees of the University of Illinois.
ISSN
1934-6018

Abstract

The Address of the Ass: D-BOX Motion Code, Personalized Surround Sound, and Focalized Immersive Spectatorship christina g. petersen on april 3 , 2009, the ne west iter ation the space of the film, D­BOX’s motion effects of immersive cinema technology quietly rolled prompt the spectator’s body to mirror those into two American multiplexes—the Mann Chi­ bodies depicted on the screen and identify with nese in Los Angeles and the UltraStar Surprise a particular point of view. Pointe in Surprise, Arizona (Harris). In both As opposed to notions that immersive cin­ theaters, Fast & Furious (2009) debuted with ema, and by extension D­BOX, is often focused the option for audiences to experience the on haptic thrills rather than narrative coher­ film in D­BOX motion code. Select spectators ence, through analyses of recent films featur ­ paid a premium to “live the action” through ing motion­code tracks, including Whiplash D­BOX’s patented motion effects and specially (Damien Chazelle, 2014), Furious 7 (James equipped seats in an update of Hale’s Tours Wan, 2015), Lucy (Luc Besson, 2014), Captain (1904–15) and William Castle’s Percepto. Like America: The Winter Soldier (Anthony and Joe these earlier motion­based immersive tech­ Russo, 2014), Guardians of the Galaxy (James

Journal

Journal of Film and Video – University of Illinois Press

Published: Mar 14, 2019

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