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Bringing vinyl into the digital domain: Aesthetics in David Lynch's Inland Empire (2006)

Bringing vinyl into the digital domain: Aesthetics in David Lynch's Inland Empire (2006) 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 Zizek, 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. KEYWORDS David Lynch Inland Empire digital film sound noise technology performance Hollywood The New Soundtrack 2.2 (2012): 97­111 DOI: 10.3366/sound.2012.0032 # Edinburgh University Press www.eupjournals.com/SOUND `From Hollywood, California, where stars make dreams and dreams http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

Bringing vinyl into the digital domain: Aesthetics in David Lynch's Inland Empire (2006)

Greene, Liz
The New Soundtrack , Volume 2 (2): 97 – Sep 1, 2012
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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press
Subject
Articles; Film, Media and Cultural Studies
ISSN
2042-8855
eISSN
2042-8863
DOI
10.3366/sound.2012.0032
Publisher site
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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 Zizek, 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. KEYWORDS David Lynch Inland Empire digital film sound noise technology performance Hollywood The New Soundtrack 2.2 (2012): 97­111 DOI: 10.3366/sound.2012.0032 # Edinburgh University Press www.eupjournals.com/SOUND `From Hollywood, California, where stars make dreams and dreams

Journal

The New Soundtrack – Edinburgh University Press

Published: Sep 1, 2012

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