Sound Design, Music and The Birth of Evil in Twin Peaks: The Return

Loydell, Rupert ORCID: https://orcid.org/0000-0003-2730-8489 and Marshall, Kingsley ORCID: https://orcid.org/0000-0002-2518-7305 (2021) Sound Design, Music and The Birth of Evil in Twin Peaks: The Return. In: Music in Twin Peaks: Listen to the Sounds (Co-edited Reba Wissner, Katherine Reed). Routledge, London. ISBN 9780367423131 (Submitted)

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Abstract / Summary

'Sound is at least 50% of the picture […] In post, most of the sound is built and it’s usually a process of experimenting. Action and reaction. Trying this or that. I think that in every instance of every sound, there are 760 million sounds that are wrong and there are 34 sounds that are correct.’ (Lynch, in Bentley: 2017)

The opening line in the first episode of Twin Peaks: The Return, spoken by Carel Struycken’s character, asks FBI Special Agent Dale Cooper to 'Listen to the sounds'. Throughout the third season of Twin Peaks, writer, director and sound designer David Lynch and his collaborators deploy a complex combinaton of sound and visuals in order to depict mysticism, the impossible and bring to life the birth and spread of evil in the Twin Peaks universe.

We explore how Lynch makes use of intricate sound design, score, existing source music and music performed within the diegesis to articulate and distinguish the real world geography from the supernatural spaces of the series, and how sonically distinct liminal spaces connect these places within a rhizomic narrative. We explore how the series as a whole makes use of intertextual connections to conventional and experimental film form and how a complex relationship between sound and visuals - and the manipulation of these media - lends an otherworldly quality to The Return and allows the series to further extend established Lynchian worlds.

Dr Kingsley Marshall and Rupert Loydell, a composer/writer and writer/painter respectively, will use the words of David Lynch, composer Angelo Badalamenti and sound supervisors Dean Hurley and Ron Eng together with critiques of Lynch’s work, to better understand the complex, alienating world of Twin Peaks, and the significance of sound and music within the construction of place, space, character and narrative in the most recent series.

Item Type:	Book Section
ISBN:	9780367423131
Subjects:	Film & Television Performing Arts > Music & Sound Communication > Journalism
Courses by Department:	The School of Film & Television The School of Communication
Related URLs:	http://repository.falmouth.ac.uk/2894/
Depositing User:	Rupert Loydell
Date Deposited:	16 Sep 2019 13:59
Last Modified:	18 Nov 2024 15:06
URI:	https://repository.falmouth.ac.uk/id/eprint/3337

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