Director David Lynch is best known for films that channel the uncanny and the weird into a distinct 'Lynchian' aesthetic, in which sound and music play a key role: Lynch not only writes his intended sounds into the script, but also often takes on the role of creating the sounds himself. This concise study explores what makes Lynch's sonic imprint distinct, breaking down three different sound styles that create Lynch's sound aesthetic across his films. Showing how sound offers new insights into the aesthetic and narrative work of Lynch's filmmaking, this book highlights new dimensions in the work of a key American auteur, and deconstructs the process of building a unique sound world.
Music and the Atomic Bomb on American Television, 1950-1969 is the first book to consider the important role that music and sound play in the destruction narratives about the Bomb on Cold War-era television.
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