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(2016) The Palgrave handbook of sound design and music in screen media, Dordrecht, Springer.
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.
Publication details
DOI: 10.1057/978-1-137-51680-0_7
Full citation:
Mera, M. (2016)., Towards 3-d sound: spatial presence and the space vacuum, in L. Greene & D. Kulezic-Wilson (eds.), The Palgrave handbook of sound design and music in screen media, Dordrecht, Springer, pp. 91-111.
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