데이빗 린치 영화의 청각적 추(醜) 고찰

Abstract

Research on sound with regard to David Lynch’s films briefly addresses the fact of phenomenal observation, but it does not reach aesthetic insight. The purpose of this paper is to analyze Lynch's three movies <Eraserhead>, <The Elephant Man> and <Blue Velvet> in relation to the aesthetics of ugliness. Frequency analysis is used as the research method in this case, and sound management in Lynch’s films is examined through a theoretical approach to the concept and category of ugliness, and actual analyses of the films. Noise used as the material of ambience can be placed in the diegesis without revealing the 'essence' of the noise, sometimes with a similar sound, confirming as well shot transitions and spatial backgrounds. However, sound, which is located at a certain pitch, such as humming, is subjective in the recognition of musical tone or noise, and the continuity of static sound goes beyond familiarity with the 'uncanny'. On the other hand, the emphasis on sound is realized by increasing the volume of a specific object unrealistically, and this condition can be expressed as a 'close-up' of sound in that the volume is correlated with the perspective of the object. The obsession with sound, or 'fetish', is an excessive situation of sense, which functions as a 'formal ugliness' that breaks the formal balance of volume and distance. In conclusion, auditory ugliness in Lynch’s films can be considered as an 'uncanny' in a situation with a lack of balance.