Greene, L. (2012) Bringing vinyl into the digital domain: aesthetics in David Lynch’s inland empire (2006). New Soundtrack, 2(2), pp. 97-111. (doi: 10.3366/sound.2012.0032)
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Abstract
This article will focus on the aesthetic choices made by David Lynch informed by both old and new technology in Inland Empire. Considering Lynch's new digital cinematic practice this article will highlight the merits and pitfalls of this new approach to the soundtrack and outline how it is incorporated into Lynch's aesthetics. Utilising theories of Slavoj Žižek, Michel Chion and Lesley Stern, I will outline how Lynch consciously uses sounds of the past to play with our concepts of diegetic time and space. Within the filmmaking process, I suggest, he has also captured the sounds of the machinery, which creates a new sound to add to his eerie catalogue of soundscapes. This article will draw from Lynch's earlier collaborations with the sound designer Alan Splet onwards, and assess the evolution in Lynch's sound style. I have conducted an interview with Lynch who discusses his collaborative process and use of sound/noise in Inland Empire and I outline here how this informs his overall aesthetic choice.
| Item Type: | Articles |
|---|---|
| Status: | Published |
| Refereed: | Yes |
| Glasgow Author(s) Enlighten ID: | Greene, Dr Liz |
| Authors: | Greene, L. |
| College/School: | College of Arts & Humanities > School of Culture and Creative Arts > Theatre Film and TV Studies |
| Journal Name: | New Soundtrack |
| Publisher: | Edinburgh University Press |
| ISSN: | 2042-8855 |
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