Sound in David Lynch’s Films
Abstract
Katarzyna Lenarczyk traces the development of sound language whose presence is so strong and autonomous in films by David Lynch (who is often a sound designer of his movies). The language of sound, like the language of pictures, is not only a creative „invention” of the director but also the expression of post-modernist trends in the cinema of the 1980s and 1990s. Silence in almost never present in his films, the congested sound atmospheres (often bordering on concrete music) serve to better characterize persons and places, and are often constructed as counterpoint - which reinforced to the limit - has a powerful influence on the viewer’s reception of film reality. As much as Lynch likes to distort the represented world, he also distorts sound by isolating it from a natural context to create the unique quality of his work.
Keywords:
David Lynch, sound, surrealismReferences
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Authors
Katarzyna Lenarczykkwartalnik.filmowy@ispan.pl
Chopin Academy of Music Poland
Absolwentka Wydziału Reżyserii Dźwięku na Akademii Muzycznej im. F. Chopina w Warszawie.
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Copyright (c) 2003 Katarzyna Lenarczyk
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