Abstract
Pop and adjoining genres songs from the 1950s and 1960s are a feature that American filmmaker David Lynch began to use in his films from “Blue velvet” (1986) on and reached, in a scarse way, the 2017 season of the television series “Twin Peaks”. The aim of this paper is to evaluate whether and how much such practice reiterated in these feature films the contrast with the images achieved in Alan Splet’s sound design in Lynch’s filmography through sound effects, also considering connections of this use with theories of the contemporary and pop culture. For that, the films “Blue velvet”, “Wild at heart” (1990), “Lost highway” (1997), “Mulholland Dr.” (2001) and “Inland empire” (2006) are analyzed. In conclusion, synchronic and diachronic effects operate in simultaneity, redefining and presentifying the past of those pop songs.
Keywords
David Lynch; Pop; Soundtrack; Music; Sound contrast