City Research Online

Abstract

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 environmen

Publication Type:	Book Section
Additional Information:	This extract is taken from the author's original manuscript and has not been edited. The definitive, published, version of record is available here:http://link.springer.com/chapter/10.1057/978-1-137-51680-0_7
Subjects:	M Music and Books on Music > M Music
Departments:	School of Communication & Creativity School of Communication & Creativity > Media, Culture & Creative Industries

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