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The Address of the Ass: D-BOX Motion Code, Personalized Surround Sound, and Focalized Immersive Spectatorship
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The Address of the Ass: D-BOX Motion Code, Personalized Surround Sound, and Focalized Immersive Spectatorship
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Journal Article
The Address of the Ass: D-BOX Motion Code, Personalized Surround Sound, and Focalized Immersive Spectatorship
2019
Overview
On April 3, 2009, the newest iteration of immersive cinema technology quietly rolled into two American multiplexes—the Mann Chinese in Los Angeles and the UltraStar Surprise Pointe in Surprise, Arizona (Harris). In both theaters, Fast & Furious (2009) debuted with the option for audiences to experience the film in D-BOX motion code. Select spectators paid a premium to \"live the action\" through D-BOX's patented motion effects and specially equipped seats in an update of Hale's Tours (1904–15) and William Castle's Percepto. Like these earlier motion-based immersive technologies, D-BOX offered moviegoers a sense of presence at a remove from one's lived experience and a feeling of embodied participation in the world of the film (Griffiths 2). However, although it shares aspects with earlier visually immersive \"movie rides\" and other contemporary 4-D exhibition technologies, D-BOX owes more to the development of film sound technology and aesthetics, particularly digital surround sound. As I will discuss, D-BOX is a digital cinema technology that \"envelops\" the spectator in the cinematic diegesis through a personalization of the surround-sound experience. Rather than amplifying the surround-sound effects to make spectators feel like they are in the space of the film, D-BOX's motion effects prompt the spectator's body to mirror those bodies depicted on the screen and identify with a particular point of view.
Publisher
University of Illinois Press,University Film and Video Association
Subject
