With the recent resurgence of 3-D cinema some 50 years after the short lived boom of the 1950's, it is yet to be determined how long the current trend of digital 3-D filmmaking will be sustained. Although brought back to increase box-office sales, the validity of this medium as a serious narrative medium is being questioned. Additionally, production practices and the evolution of film technologies are creating challenges, not applicable to 2-D film. Specifically, by allowing the 3-D the vision to occupy the Z-Space, are we dislocating the cohesive relationship between the vision and the soundtrack compared to contemporary 2-D films? The shift to digital cinema is allowing technologies and working methodologies for both the vision and sound to continually evolve in terms of the creation and exhibition of content. With so much emphasis on how '3-D looks', this attention to the imagery is overshadowing the accompanying soundtrack. To an extent, this is due to the fact that many people believe that cinematic sound was already 3-D. In this paper I argue that sound for 3-D is not always 3-D sound.
|Number of pages||6|
|Journal||The International Journal of New Media, Technology, and the Arts|
|Publication status||Published - Sep 2015|