There Is Noise at the End of Reality. Sound, Fantasy and Subject in David Lynch’s Films

Sound has been key to David Lynch’s films since the beginning, especially because Eraserhead (1977) made the filmmaker one of the pioneers of using industrial sounds, noise, low-frequency drones and more to build a soundscape instead of the traditional soundtrack. In the article, we explore how his use of sound relates to the role of fantasy, its transcendence and the awakening of subjectivity, which Lynch also emphasises through the glitch of the medium itself, at the level of both sound and image.

The integral version of this article can be found in the printed KINO!