The gravitational pull of Cuarón's gravity

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dc.contributor.authorIdrovo, Rene
dc.date.accessioned2023-01-30T15:37:36Z
dc.date.available2023-01-30T15:37:36Z
dc.date.issued2022
dc.descriptionIJSIM : International Journal on Stereo & Immersive Media
dc.description.abstractFilm scholar Miguel Mera (2016) argued that Alfonso Cuarón’s Gravity (2013) was likely to generate a strong “gravitational pull” towards a broader exploitation of three-dimensional (3D) sound. In this article, the aesthetics of Cuarón’s work are compared to those in a number of other films. Alejandro González Iñárritu’s most recent films are presented as advocates of Cuarón’s film style, referred to here as immersive continuity. This approach makes constant use of long takes that are complemented by the immersive action of 3D sound. Moreover, it is observed that many other motion pictures in a variety of genres have made use of similar aesthetics, creating impressive three-dimensional sound designs. Through the examination of several Dolby Atmos titles, the author suggests that the screen-centrality of the cinematic voice is not as great a concern as previously thought. Ultimately, it is argued that conventional editing is now the biggest obstacle to achieving the mythical total cinema described by André Bazin.pt
dc.formatapplication/pdfpt
dc.identifier.issn2184-1241
dc.identifier.urihttp://hdl.handle.net/10437/13534
dc.language.isoengpt
dc.publisherCICANTpt
dc.rightsopenAccesspt
dc.subjectCINEMApt
dc.subjectSOM SURROUNDpt
dc.subjectSURROUND SOUNDen
dc.subjectCUARÓN, ALFONSOpt
dc.subjectGONZALEZ IÑÁRRITU, ALEJANDROpt
dc.titleThe gravitational pull of Cuarón's gravityen
dc.typearticlept

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IJSIM : International Journal on Stereo & Immersive Media, Vol. 6, Nº. 1 (2022)