Exposition

Immersion and proximity: music, sound, and subjectivity in The Memory Dealer (2015)

Sarah Hibberd, Nanette Nielsen
open exposition

About this exposition

With a focus on narrative film music techniques and sonic constructions of subjectivity, this article explores the soundtrack of The Memory Dealer. We account for whether and how immersion is achieved and discuss the ways in which TMD brings novelty to the area of sound studies, not least through its relevance for phenomenology. Analyzing participants’ responses, we argue that immersion in TMD is less dependent on a narrative understanding of the soundtrack and more reliant on a particular kind of subjective immersion that is deepened and maintained through sound. We show how, in order to achieve this immersion, the soundtrack needs to support a balance between players’ self-reflection and their self-consciousness: whereas the former can deepen engagement, the latter can be distracting and pull the player out of the experience. The various levels of subjectivity and sonic interaction in TMD reveal new avenues for immersion through sound in pervasive drama.
typeresearch exposition
keywordsImmersion, pervasive, soundtrack, subjectivity, narrative, film music, phenomenology
date30/04/2015
published07/05/2015
last modified07/05/2015
statuspublished
licenseAll rights reserved
urlhttps://www.researchcatalogue.net/view/148488/149528
doihttps://doi.org/10.22501/JSS.148488
published inJournal of Sonic Studies
portal issue09. Issue 9


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copyrightJournal of Sonic Studies
licenseAll rights reserved
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copyrightSarah Hibberd
licenseAll rights reserved
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