Abstract
The soundtrack for Mank (David Fincher, 2020) raises interesting questions about the reception of film sound in the domestic viewing/listening space. The ‘spatialisation’ of the film’s soundtrack through a process of re-recording on the Skywalker Scoring Stage introduces a ‘mediation’ of the soundtrack which is incompatible with recognised post-production sound practice. This research suggests that through this practise Mank’s soundtrack is rendered as a sonic installation, inextricably tied to the time, place, and sonic characteristics of the re-recording space. It also questions whether this re-recording method might not benefit those films released directly into the domestic market, retaining the reverberant sonic signature of cinematic exhibition.
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