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ABSTRACT
This article interrogates claims made in the emerging discourse of immersive audio documentary that spatial sound is more real, allowing the listener to step into another space, and understand the world better. However, the analysis shows makers are failing to make good on these claims. Use of the technical affordances of spatial audio is limited and producers enroll concepts of the real and of transportation in a colonial discourse of exploration and adventure, reproducing a disengaged mode of listening, while avoiding discomfort at all costs.
Disclosure statement
No potential conflict of interest was reported by the author.
Correction Statement
This article has been corrected with minor changes. These changes do not impact the academic content of the article.
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Notes on contributors
Abigail Wincott
Abigail Wincott is Associate Professor of Audio Journalism at Falmouth University. Her research explores all forms of factual audio storytelling including news, documentary and heritage, with a special interest in what happens when new media technology or techniques meet existing professional cultures and contexts.