| Popis: |
Burt examines how David Lynch and his collaborators design Twin Peaks’ third season soundtrack to create a sense of uneasiness and serve as a portent for narrative changes. Lynch and his collaborators use music and sound to emphasize shifts between scenes, locations, and scenarios, and the chapter explores how the season uses different techniques from earlier seasons, such as the incorporation of the Roadhouse bands, to emphasize tonal shifts between worlds and scenes. Burt explores how sound, reverse speech, familiar motifs, and new songs play key roles in the transportation of characters between these worlds and articulates how sound indicates portals and connections. Music in the season consistently serves as a portent of things to come. |
