Masarykova univerzita Filozofická fakulta

Katedra anglistiky a amerikanistiky

Bakalářská diplomová práce

2019 Michal Lefner

Masaryk University Faculty of Arts

Department of English and American Studies

English Language and Literature

Michal Lefner

Between Pylons and Portals: The Role of Technology in ’s and Mark Frost’s Bachelor’s Diploma Thesis

Supervisor: doc. PhDr., Tomáš Pospíšil, Ph. D.

2019

I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography.

…………………………………………….. Author’s signature

Acknowledgement

I would like to thank my supervisor doc. PhDr., Tomáš Pospíšil, PhD for guidance and patience and my wife for support and valuable comments.

Table of content

Introduction ...... 6

1. The role of technology in the context of storytelling ...... 11

2. Soundscape ...... 24

2.1. General soundtrack...... 24

2.2 Diegetic soundtrack ...... 25

2.3. Non-musical soundscape ...... 27

2.4 Vocal effects ...... 30

3. Set design ...... 32

3.1 The Tale of Two Lodges ...... 32

3.2 Audrey’s Purgatory ...... 34

3.3 At the grasp of the paranormal ...... 35

3.4 At the doorstep of paranoia ...... 36

4. Social commentary ...... 38

4.1 The Nuclear Threat ...... 38

4.2 The power of disinformation ...... 39

The Conclusion ...... 41

Works Cited ...... 43

Introduction

The 2017 continuation of the television show Twin Peaks after 25 years after the cancellation of the original caught many by surprise. Not only did the new storyline relate to the old one very vaguely, but it also became apparent that Lynch has opted to reimagine some of the elements of the original series in favor of a new style. The main storyline has been moved - for the most part - from Twin Peaks, a seemingly peaceful town in the woods to the suburban part of Las Vegas, the Douglas Firs have been replaced by electric pylons, the magical portals by their futuristic counterparts and the sounds of nature coupled with smooth jazz by the buzzing of electricity. The theme of modern technology is persistent throughout the 2017 Twin Peaks and it begs a question: what was the intention of the creators that has lead to such wide implementation of the imagery of modern technology? This is precisely what this thesis aims to clarify. It will demonstrate that the technology depicted in the 2017 season of Twin Peaks serves as a new alternative representation of the supernatural rather than its replacement and also compare and contrast the approaches to the supernatural and modern technology in

Twin Peaks: The Return and its predecessors.

The cultural phenomenon of Twin Peaks found its way to the television screens in 1990, and shortly after its premiere garnered a cult status and became the first show with a cult following on the internet. However as it cult status grew, the mainstream following began to wane. Soon it became subjected to analysis and to scrutiny from fans and critics alike. As in the rest of Lynch’s work, the interpretative potential of Twin

Peaks is vast due to the fact that its storyline is incoherent because of Lynch’s practice of surrealism and absurdism that is typical for his works of art. But years after the show has ended, the well of ideas for the possible interpretations of the meaning of the show has started to dry out. The most credible theories and analyses had been already

6 established as was the reluctance to accept new ideas as they usually failed to provide a fresh perspective due to the fact that they were often mere alterations of the previous ones.

The initial expectations from the ABC network were not high, despite the fact that the Entertainment president of ABC Robert I. Iger was favorable towards the project as the rest of the executives did not share his optimism (Kneale). Even though

Lynch has already achieved some success as a director, his artistic style had been deemed unsuitable for mainstream television programming. While this skepticism was understandable, the show has initially managed to surpass all of these negative expectations and the collaboration of David Lynch and Mark Frost (perhaps because of

Frost’s experience in writing for the television) has yielded positive results as the show managed to preserve the typical elements that fans of Lynch`s movies expected but it also incorporated a slightly more coherent storyline that made the audience invested in the final product. However as the story of a murder investigation implemented a wider variety of surreal imagery, the audience became disinterested and the show ended up cancelled after only two seasons (Allrath 99).

While Frost’s influence on the world of Twin Peaks is undeniable (with the exception of the movie Fire Walk With Me), this thesis will deal with the show in the context of Lynch’s work and directing style, the show will therefore be henceforth referred to as Lynch’s work for all intents and purposes.

As Lynch’s status in the world of cinematography grew, the term ‘Lynchian’ has come into usage among the movie fans and academics alike .While there are many debates as to what does Lynchian mean, perhaps the shortest yet the most revealing description of the phenomenon comes from the late writer David Foster Wallace. He defined Lynchian as “a particular kind of irony where the very macabre and the very

mundane combine in such a way as to reveal the former's perpetual containment within the latter”(D.F.Wallace). This dualism definitely seems to be one of the defining qualities of a cinematographic work of David Lynch as they often contain characters that come very close to a stereotype of a white middle-class American (in Twin Peaks represented by the pie and coffee loving Agent Cooper and the ruthless capitalist

Benjamin Horne) as well as characters that seem very out of place and often supernatural (as the , Nadine Hurley and many others). Of course, similarly to what Wallace suggests, many seemingly ordinary Lynchian characters possess some supernatural characteristics and vice versa.

The connection of the prosaic and the supernatural can be seen not only in

Lynch’s characters but also in the settings he chooses for his movies. In Lynch’s work, it is customary to see white picket fenced houses, diners evocative of the 1950’s aesthetics, lounges filled with jazzy tunes, just as much as surreal spaces existing in either a dream state or an alternate reality.

Aside from said dualism, Lynch’s movies are also specific in their storytelling.

While some surrealist movies abandon any attempts on delivering a coherent storyline,

Lynch’s approach is quite different. Usually the beginning the story is very concrete, seemingly banal and it progressively grows more surreal (Kneale). This creates an impression of a mismatched puzzle waiting to be put together and it insists on some internal logic even though none is supposedly present. This style of storytelling is both praised and despised and remains a popular talking point amongst Lynch’s critics.

Lynch’s usage of motifs may seem rather formulaic. As mentioned previously, his movies often deal with the paranormal. Although the paranormal instances differ in some aspects, there is still a remarkable consistency, a unifying thread in all of them. It is clear they are governed by some internal laws, which are clearly known in their

entirety only by Lynch himself. These are usually dream-like states represented by a specific soundscape, usage of camera, and unnatural movement of the characters. They also regularly include audible distortion of speech and inclusion of absurd yet at the same time prolific statements of the characters. These states are often employed to advance the plot and to connect the mundane characters with the supernatural world.

Another recurring motif in Lynch’s work is a deformity of the human body. This is more prominent in frequent depiction of dwarfism, amputations and facial deformities such as the titular character in Elephant Man. Interestingly the characters marked by these conditions are frequently tied to the paranormal and appear as prophets, aiming to steer the main character in either the right or wrong direction in their respective pursuits.

Lynch himself has previously talked about his fondness for American culture and imagery, specifically for the 1950s which is apparent from the interview in the book

Lynch on Lynch where he states the following: "I like certain things about America and it gives me ideas. When I go around and I see things, it sparks little stories, or little characters pop out, so it just feels right to me to, you know, make American films”

(Lynch). But the plethora of American imagery in his works is not only a display of fondness for one’s own country but also a tool to make social commentaries pertaining contemporary American culture.

With these elementary observations it becomes apparent that none of the ingredients that go into a Lynch movie is chosen randomly. And as Lynch himself has previously talked about his infatuation with machinery (Lynch), his specific usage of modern technology in the 2017 season of Twin Peaks provides grounds for the analysis of its usage and placement in the storyline of both the original Twin Peaks as well as its

2017 successor.

The first part of this thesis will analyze the impact of the depiction of modern technology on the storytelling, mainly on the decisions made by the director in order to shift the portrayal of the storytelling mechanisms from them being portrayed as paranormal to being represented by modern technology, at times even by futuristic technology.

The second part will focus on how the soundscape of the show has evolved in order to preserve the sense of mystical, while at the same time employing modern elements to convey a fresh perspective on the already explored topics. In doing so it will not only analyze the actual soundtrack but also the diegetic music, as well as the general choice of sound that are used to underline certain situations.

In the third part, the focus will be drawn on set design and its evolution which also seems to reflect the progress of technology. It will compare and contrast the imagery used to depict the paranormal imagery in the first two season of the show as well as the movie Fire Walk with Me and the third season Twin Peaks: The Return. It will also explore how certain choices in regards to the representation of modern technology help to categorize the supernatural spheres in Twin Peaks and thus promote a better understanding of the story.

Lastly this thesis will deliberate on the social commentaries in the original iterations of Twin Peaks, how they rely on the invocation of paranormal imagery and how the creators of the show abandon this imagery in relation to social commentaries and opt to convey their commentaries through the depiction of modern technology in the story.

1. The role of technology in the context of storytelling

In order to illustrate the role of technology as a tool of portraying the paranormal, it is first necessary to define the term observe the instances in which it is used as a mean of advancing the plot. According to the Merriam-Webster dictionary the term paranormal is used to describe something “not explainable by science¨”

(Webster)”. Another term associated with this phenomenon that will be widely used in this thesis is supernatural meaning “relating to an order of existence beyond the visible observable universe” (Webster). However for all intents and purposes, these terms will be used interchangeably throughout this thesis.

As the original seasons of Twin Peaks frequently featured a paranormal events or beings that contributed to the development of the storyline, it is curious to see that in the 2017 season this happens much less frequently. There are, however numerous instances in which a piece of technology becomes a catalyst which furthers the storyline, effectively portraying a paranormal event. The most notable example of this would be when Cooper, trapped in the body and life of Dougie Jones, not being in full control of his mental faculties is driven by the sound of electricity and subsequently inserts fork into an electrical socket and due to this deed later regains full consciousness of his former identity. Here the viewer is presented with not one but two pieces of modern technology radically changing the course of the story. First the scene depicts

Cooper watching television and suddenly having an epiphany. In the former installations of Twin Peaks this would be most probably achieved by Cooper having a conversation with a mysterious character or entering a dream state in which such a revelation would be made to him, although according to the journal article written by

Scott Pollard agent Cooper seems to be “blessed by a divine touch, that elevates him to

a quasi-supernatural status and he becomes an unbeatable combination of visionary and sleuth” (Pollard 300). While this may hold true for the Cooper from the original Twin

Peaks show, it does not seem as plausible for his newer incarnation, whose journey is not a one of cunning and magical oversight but rather a one of folly and mistakes.

However after he approaches an electrical socket and inserts fork into it, he is struck by a transitive force, transforming humorously incompetent Dougie into the experienced agent Cooper who is the only character fully informed of the gravity of the situation and capable of challenge the forces of supernatural. As we are ultimately presented with three versions of Cooper, it could be argued that “electricity seems to be a materialization of the possible link between these worlds, as well as that of a dialectical tension between them” (Chateau.126).

The transformation from Dougie to Copper might just be one of the most important developments of the third season as it concludes the story arc of Dougie

Jones, whose presence creates a deliberate sense of frustration of bearing the presence of a character that has been described in Twin Peaks: The Return and the politics of the

Lynchian Comedy as an “...idiot savant…” and a “... grotesque parody of the much loved agent” and reintroduces the actual agent Cooper with his full mental and physical capabilities restored, thus drastically accelerating the tempo of the story (Fradley et al.

75). The moment of his electrocution hence serves as a bridge between the old and the new world of Twin Peaks with the electrical socket as a piece of technology, able to restore the life force of a character.

The closest instance from the original show, resembling this rejuvenation would be when Cooper is shot by then mysterious gunman and enters a dream state, in which he receives clues presumed to be they key to unravelling the mysteries surrounding

Laura Palmer’s death. The concept here is similar - a hero, who is somewhat lost in his pursuit enters a life altering state and emerges, focused and determined to fulfill his mission. Therefore we can assume that the electrical socket is a substitute for the dream state as such a state also served as a rejuvenation of Cooper, leaving him equipped with a newfound sense of direction and determination to solve the mysteries regarding Laura

Palmer’s death.

Another instance of depicting modern technology as a catalyst for the development of the story can be seen in the difference of placing visual clues into scenes. A significant example of this is the recurring telephone pole marked by the mysterious numbers 6 and 324810.

Interestingly the first time the pole was featured was not the 2017 season of

Twin Peaks. Its original appearance occured in the prequel movie Twin Peaks: Fire

Walk with Me released in 1992. When agent Desmond decides to go and see Theresa

Banks trailer in the course of the murder investigation his attention is caught by a telephone pole with the very same numbers. As the pole starts to emit strange noises, the tone of the scene changes very drastically. Agent Desmond walks towards Banks’ trailer with a new sense of urgency and upon brief inspection of the trailer, he finds a ring with the symbol of black lodge underneath it. In the context of the scene, it seems as though the pole has given agent Desmond some intuition or hidden knowledge that led to him finding the ring rather than him carrying out a routine investigation and stumbling upon the ring by chance, therefore the effect of the pole on the mind of agent

Desmond drives the story forward.

The pole then reappears in the part 6 of the 2017 iteration. As Richard Horne hurries to his destination in order to carry out a drug deal, he runs over a child due to his negligent driving under the influence of drugs. The scene is observed by the character

Carl Rodd who has curiously been also present during the first sighting of the pole in the movie Fire Walk With Me. As the boy is struck, a crowd gathers around him and his grieving mother. Meanwhile Carl Rodd observes as the life essence in the form of golden cloud leave the body of the boy and heads upwards, passing electrical wires and finally dissolving in the air. The focus at the wiring seems especially curious in this scene as it strongly contrasts with melodramatic nature of the scene as well as the otherworldly melancholic score that is used in this scene. As Rodd steps in to console the mother he notices the very same telephone pole, albeit in a completely different location. As the camera focuses on the numbers and then pans upwards, the score fades out and is replaced by similar electric sounds that were featured in previously mentioned scene from Twin Peaks: Fire Walk with Me, and the camera fades to black, almost mirroring the movement of the golden cloud, symbolizing the life essence of the boy who has been killed. Taking this into the account, the intention behind this scene was clearly to portray a paranormal occurrence and then mirror it using imagery of modern technology.

The third sighting serves a very similar purpose as the first one, however it’s depiction is rather different. It shows deputy Andrew Brennan entering a paranormal space, in certain aspects similar to the waiting room of the black lodge and meeting the

Fireman, also known as , a being occupying paranormal realms. Deputy

Brennan is shown several images, some pertaining to modern technology and some not.

One of these images is also the image of the very same telephone pole. As stated previously, the purpose is rather similar as in the case of Agent Desmond - deputy

Brennan is presented with the clues, helping him to navigate through the investigation of the paranormal and thus to advance the storyline.

The last instance of the telephone pole making an appearance is in the last episode of the 2017 season. The pole now stands in front of the house of Carrie Page, the unexplainable character bearing a striking resemblance to . The intention is not as clear in this scenes as it seems to be in the others there are however some factors pointing to it again being a part of a paranormal occurrence. The first factor is, that basing on how the storyline unfolds, it becomes apparent that the there is some sort of connection between Carrie Page and the long deceased Laura Palmer, be it her appearance, the figure of white horse above her fireplace as a callback to the visions shared by Laura and her mother or her reaction, when she hears Laura’s mother calling out Laura’s name. Therefore the purpose of the occurrence of the pole might be to point to the fact that the presence of the person who calls herself Carrie Page is a paranormal phenomenon in itself and the pole its announcement. Another possible interpretation is that the pole marks recent death as it was in the case of the young boy being killed by

Richard Horne, since in a subsequent scene, the viewer is presented with a dead body inside of Carrie Page’s house. Whichever of these is the case, the pole again reveals a shift in the narrative and declares that a paranormal event is occurring.

But perhaps the most crucial argument for the portrayal of paranormal through modern technology lies in the explanation of the lore that is being presented in the 2017 season. Though it was previously suggested that there was a government operation with a sole purpose of investigating paranormal phenomena, the origin of the paranormal personified by the character , albeit never fully explained was said to have come from Nez Perce mythology. Interestingly, before the release of the 2017 season the origin of BOB was a subject of many discussion, with the majority maintaining the theory that BOB is a shape shifting spirit with the basis in native american folklore

(Same Kind of Different) while some turn to the suggestion of Agent Rosenfield that

BOB is just “the evil that men do” (“Arbitrary Law”).

However throughout the third season it becomes clear that the supernatural forces in the Twin Peaks universe are a direct result of the detonation of an atomic bomb in the 1945 test in New Mexico. This changes the narrative substantially as it changes the position of the US government as the protecting force of mankind from supernatural threats to it being a direct cause of the supernatural events. Furthermore it points to the nuclear arms race as the sole motivation for the imminent creation of the paranormal world. As the detonation is not discussed on screen a brief look into Mark

Frost’s book The Secret History of Twin Peaks is what is ultimately needed to add some insight on the matter. The book discloses information about a certain General Milford, whose attitude mirrors the attitude of the world leaders during nuclear arms race:

Send in waves of technologically advanced aircraft to operate openly over

America, against which we had no possibility of defending ourselves, as a

way to intimidate us and deflate confidence in our new atomic weapons

which the Soviets did not yet possess. Whatever these craft were, there’s no

question they created panic and uncertainty in the military (Frost).

The attribution of the origin of the paranormal occurrences to the mankind and its increased obsession with using modern technology for destructive purposes allows

Lynch to subvert the basis of the original story, thus giving the third season a modern outlook on the paranormal while maintaining the supernatural atmosphere of the original.

Even though David Lynch does not consider himself to be a musician, he does enjoy the process of making music and oversees every therefore etail in the audio production of the show, it is relevant to consider his utilization of audio technology in the storytelling (Lynskey). This chapter is however devoted to the actual depiction of the technology in the context of the storytelling rather than analyzing the musical score and overall soundscape as those will be analyzed in a later stage of this thesis. While audio technology was naturally present in the predecessors of Twin Peaks: The Return, it previously did not serve any significant purpose with a few notable exceptions. This however changes in the 2017 iteration and we are presented with several noteworthy cases where the technology overtakes the narrative function that was previously served by a paranormal phenomenon.

The first such phenomenon is a possession by an evil spirit. This concept was in the original seasons treated as a product of supernatural forces, an attempt of malevolent spirits to enter the world as is known to humans, to exact their corrupt will as it is presented in many mythologies and religions of the world. Therefore when the character

- or spirit - BOB possesses , it is depicted in a manner which is very typical for this phenomenon. BOB appears as a trickster figure, first seducing Leland to commit acts of mischief, then entering his body, using it as a vessel to act out deeds of harm as he is: “only a spirit , capable of inhabiting dreams, visions and reflections but incapable of taking action in the real world” (Pollard 301).

Since in Twin Peaks: The Return Bob simply occupies the body of Cooper’s he has no need for possessing others. There are however callbacks to the events of the year

1956 when a mysterious woodsman (also a product of the detonation of the atomic bomb) enters the live room of the KPJK radio station, killing the disc jockey and proceeding to broadcast the following statement: “This is the water and this is the well.

Drink full and descend. The horse is the white of the eyes, and dark within” (“”).

Upon hearing this cryptic message, many people fell unconscious, including a girl named Sarah Novack. In her unconscious state the girl is invaded by a mysterious creature which crawls into her mouth. This process thus seems to mirror the process of a possession by an evil spirit, first there is the subversion of the willpower of the individual who is then invaded by the foreign life force. Even more interestingly, the identity of the girl is revealed to be Sarah Palmer in Frost’s book (Frost). That means that both Sarah and Leland lived through a very similar experience in the early stage of their lives, creating a mirroring effect, typical for Lynch’s movies. The difference here is however in how the paranormal force gains control of the subject in the first place which is in the Twin Peaks: The Return accomplished via radio waves, therefore through the use of modern technology as opposed to magical force.

When analyzing the relation of technology to the plot development it is helpful to look at how it relates to the characters in the story and how their behavior is motivated by it. An intriguing case of this is the character of Gordon Cole, played by

David Lynch himself. Cole suffers from a hearing loss due to an injury on a mission and relies on hearing aids in his daily life. It is key to note here that both the character and his hearing aids have been present in the story since the very beginning and thus there is no analogy with a previous character or an instance of such usage. However the inclusion of this occurrence can be considered as a small scale example of the style

Lynch was working towards.

But what is the narrative purpose of the hearing aids in the story? Looking at the broader scope of Lynch’s work, a physical deformity or a disability seems to be fairly commonplace in his narratives. The characters described with such characteristics often have a stronger connection to the paranormal world than their able-bodied counterparts.

Interestingly, this seems to be derived from the many non-Christian cultures where physical as well as mental ailments were often associated with supernatural wisdom and prestige. Due to their ability to overcome pain, these people were often entrusted with a role of shaman, a spiritual leader dealing with matters of illness, death and the matters beyond the material life (Howard). Therefore, Gordon Cole in a certain way occupies the role of the shaman of the FBI. His hearing aids are what marks him as a person with a physical disability, but also a person with a considerable experience marked by his injury sustained in the line of duty. Although he is higher up in hierarchy than Cooper though he assumes the position of advisor rather than that of a supervisor, often referring to Cooper familiarly as Coop. Also as a prominent member of the Blue Rose task force he does battle paranormal on behalf of the normal, thus acting as a bridge between the real and the paranormal world, much like a shaman.

Interestingly Gordon Cole is not the only character that relies on technology throughout the first two seasons. Such technological dependency can also be seen in agent Cooper, specifically in his reliance on his tape recorder throughout the investigation of Laura Palmer’s death.As Anthony Ballas suggests:

In Lynch’s universe, objects as well seem to give off the glow of agency:

lamp posts, trees, rocks, geo-spatial coordinates, and, again, The Log Lady’s

log, are not simply passive, static objects, but rather things which resonate

with an internal capacity to affect the world, highlighting their entanglement

in human affairs (Ballas).

Even though it is not uncommon investigators to use such a technology, none of the other agents in the story opt to do so, therefore Cooper’s excessive usage of it draws the attention of the viewer.

Furthermore, despite using it as an aid in the investigation, Cooper does not address the recordings to himself, but to his secretary Diane instead. Due to the cryptic nature of Twin Peaks, there is a tendency to question the real identity or even the existence of the secretary, since she is merely depicted in the mentions of other characters. She does not appear on screen, Cooper is not even depicted talking to her on the phone. Instead the mode of communication between them is that Cooper sends her the aforementioned audio tapes, containing his notes and requests via post. Of course in

Twin Peaks: The Return Diane eventually makes an appearance, however it is later explain that the person assuming the identity of Diane is a duplicate created by

Cooper’s evil version, the conjunction of Copper’s duplicate and the evil spirit BOB.

In effect, the evolution of the character of Diane lies in direct opposition of the claim of this essay. Instead of having supernatural qualities in the original, she is represented by a piece of technology - the tape recorder and she subsequently becomes a seemingly human character with a paranormal origin

This contradiction in the evolution of the depiction of said character provides basis for the claim that David Lynch pre planned the inclusion of more technological imagery and inverted it on several occasion as to uphold the sense of mystical in the

2017 season which is overflowing with the imagery of technology, and to create a linking element between the iterations. Thus when the 2017 presents the plethora of technology, there is a slight sense of familiarity, however miniscule it seems to be.

The third character markedly reliant on technology is Phillip Jeffries. The technology in mention is not quite modern, it does however enable Jeffries to have a physical form of outside the realm of the living. The Return presents Jeffries in the form of what can only be described as a sizeable tea kettle. The stylistic choice for this portrayal is influenced by the overall design of the plane of existence in which Jeffries

exists. This design will be discussed in depth in chapter 3 dedicated to the set design. It is worth noting that while a tea kettle is not considered a piece of modern technology, this state of being still allows Jeffries to communicate with Cooper’s evil doppelganger via a phone and therefore possesses undisclosed abilities that distinguish it from a typical tea kettle.

Modern technology is also crucial in conveying the transformation of the character called The Arm, previously known as The Man from Another Place.

Originally the character appeared as a little man in red suit, often seen dancing, this however had to change due to contractual issues that ultimately resulted in the actor

Michael J. Anderson not reprising the role. Instead of simply recasting the part, David

Lynch opted to change its form to a tree crowned with a growth resembling a human organ, function as the mouth of this life form. As it appears David Lynch consistently foregrounds images of the disabled body (O’Connor). The arms evolution could be considered as most severe disability where only a miniscule part, resembling a human form remains, which is the mouth of the arm. The arm is also often illuminated by the electricity which it seemingly produces and its presence on screen is accentuated by the sound of crackling electricity in the background, suggesting that the electricity is a natural part of its existence. As it is dubbed an evolution of The Arm in the show itself by the character , it could be interpreted as an evolution in the portrayal of paranormal characters, in other words the paranormal may not survive without technology anymore. Curiously there have been an instance of foreshadowing the connection of the The Arm in the original show, particularly in the scene when The

Arm announces its name and produces a sound similar to an alarm, used as a warning in the event of an explosion of the atomic bomb. This ties the very existence of the

character to the event that presumably gave birth to the paranormal elements in the story, depicting the paranormal and modern technology as consubstantial.

2. Soundscape The very beginning of Twin Peaks: The Return provides a clue to the importance of the soundscape in the Twin Peaks universe. The opening scene shows agent Cooper with the man known as The Giant as well as The Fireman. Who tells Cooper to: “Listen to the sounds” (“”). In order to do so, it is important to divide the soundscape into four categories.

2.1. General soundtrack The first such category is the soundtrack. While the soundtrack of Twin Peaks was composed by Angelo Badalamenti, David Lynch reportedly played a significant role in the soundtrack itself, contributing to the music production as well as writing lyrics to several of the songs featured on the soundtrack (Lynskey). Therefore every decision about the soundtrack was made with the same precision as were the decisions about the script and the directing.

Firstly it is necessary to note that the general tone of the soundtrack remained the same as did Lynch’s “idiosyncratic use of rhythm and sound to disturb the experience of the viewer” (Baré). The usage of synthetic keyboards to provide a warm otherworldly sound has survived the generational leap and is still preserved in the new iteration. However its usage became markedly reduced. While it previously stood to convey the general uncanny atmosphere of the town and related only loosely to the plot, the usage of it in The Return is not only sparse but also very focused on a certain type of scene. More specifically, the synthetic keyboard sounds appear mostly during paranormal events or during dream-like sequences. Also the warmth of the sound changes based on the moral allegiance of the depicted paranormal character or phenomenon as is the case with the Fireman conceiving the essence of Laura Palmer.

Not only was the synthetic part of the score narrowed down. The jazz based themes, widely used in the first two seasons have also been largely omitted in The

Return. These themes were previously commonly used, when a scene revolved around a female character, and more often than not when the female character was being depicted as a love/sexual interest of other characters. This strategy however did not survive and thus female characters in Twin Peaks do not get typically their own themes. This change can be perhaps attributed to the general change of the political climate in the USA since over the span of 25 years after the original show ended, such needless sexualization of the female characters that does not advance the plot in any way became less tolerated.

Therefore it is possible that Lynch has made the changes in order to reflect the changes in society and perhaps to avoid accusations of sexism. This is supported by the fact that

The Return features more well rounded three dimensional female characters than its predecessors. Another and perchance more plausible explanation is that reducing the score has allowed him to give more space to non-musical soundscape which plays much bigger role in The Return.

2.2 Diegetic soundtrack The second category to consider is the diegetic music, meaning the music originating within the scene rather than as an overture, which merely accompanies the scene. This phenomenon occurs fairly frequently in all of the seasons of the show however even here there are recognizable trends and tendencies that vary from the original and the 2017 sequel.

The most typical place to come across diegetic music in the world of Twin Peaks are clubs and bars, the most notable being the Roadhouse. Roadhouse does not play any significant role in the original show, however in The Return, its significance becomes

much more noteworthy. It becomes a place that features performances by prominent real life music bands. It is also a place where the real and the surreal meet as it clearly depicts characters that do not share the same reality. The role of technology here seems to be to discern, whether the scene takes place in a reality or in a dream-like state. It could also be argued that genre of the music is used to contextualize the scene within the time frame of the story (Miley).

Majority of the musical acts featured in the Roadhouse use modern technology and a sound that corresponds to contemporary music, mainly because of the fact that the majority of these musical acts exist in real life. The most significant of these are the critically acclaimed Nine Inch Nails, an industrial rock band, utilizing substantial use of synthesizers, thus clearly representing the point in timeline - the year 2017. There are however two occasions on which the musical act contrasts seems out of place suggesting either alternate reality or a dream sequence.

More specifically these are two reprises of the musical numbers previously featured on the show. The first of these is James Hurley’s performance of the song “Just

You”. While James’ physical appearance corresponds to his age, the performance in itself is not so much a callback to the performance in the original series as much as it is its direct replica. The creators seem to have reused the audio of the original instead of having the actor to rerecord it. The result is a man presumably around 50 years of age singing in an unusually high voice. The style of the song itself sounds dated, apparently based on the doo-wop genre. James is also using the same style of guitar as in the original series, that is still used to this day however in the overall context of the scene it seems to support the uncanny atmosphere of the whole scene. It is therefore possible that the reason for reprising this scene with such details might be a reason to suspect that this scene is not happening in reality but either in a dream sequence or parallel

reality. This would also be supported by the disjointness of the scene from the rest of the plot as it does not seem to enhance the narrative in any way.

The second instance of this, which is in many ways similar to the first one is

Audrey Horne’s dance number in Roadhouse. Again the character portrayal matches its age however, many other factors have been directly copied from the dance scene in the original. The band accompanying the dance announce the song as Audrey’s song which suggests a meta commentary since that is the actual name of the song as it appears on the soundtrack, therefore it contributes to the surreal atmosphere of the scene, implying that this is not the actual storyline, but again, rather a dream sequence or a parallel reality. The impression of the scene not being reality is also supported by the visual style of the band, wearing clothes and using predominantly acoustic instruments that were more common in bands that have been active long before the year 2017.

Furthermore there are other scenes that imply that Audrey is trapped in a place outside of reality, presumably in a coma in hospital, therefore it would be impossible for

Audrey to simply attend Roadhouse and perform her dance in it. Therefore the technology used by the musical acts seems to play the role of a compass that is able to distinguish between the real and the unreal.

2.3. Non-musical soundscape David Lynch has put a lot of thought not only into the music that is heard throughout the series but also to the non-musical sounds. These are sounds that underline certain moods or events in the story or provide a contrast to them in other situations. As per the account of the sound supervisor Dean Hurley, David Lynch has decided to go into different direction than in the original (Amorosi). As previously mentioned, the space that was freed up by removing a considerable amount of the

soundtrack, ultimately allowed Lynch to experiment with the soundscape in different ways.

One of the specific types of recurring sounds in Twin Peaks: The Return, that has already been mentioned are the electrical sounds. They are usually connected to pieces of technology although not exclusively, as there are occasions when the electrical crackles appear seemingly out of nowhere with no prospect of determining the source of the sound. Yet even the sounds that are in fact connected to specific machines tend to behave abnormally. The sound of electricity emanated from the high voltage wires might seem normal in theory yet in practice, such sounds are rarely audible and more often than not they suggest the malfunction of the device. Nevertheless this is not the case in this story. The electrical sounds do indeed portray disturbance of the electrical current , although not by a random fault of the device but rather by the forces of supernatural.

In Twin Peaks: The Return, the show for the first time in its existence presents the possibility of time travel and altering timelines and even creating alternate reality. In the first scene, after the Fireman’s suggestion and a brief conversation in an unknown place that shares some characteristics with the waiting room of Black Lodge Cooper disappears, accompanied by the sound of electricity. The next time that this version of

Cooper makes an appearance he is in the actual waiting room, therefore the crackle seems to mark the crossing of said characters between dimensions (Susca 108).

Towards the end of The Return agent Cooper makes a conscious effort to alter the main timeline. As he meets Laura Palmer shortly before her murder, he convinces her to take his hand. As this happens, an image from the original timeline appears, portraying Laura’s corpse before it was found by the authorities. The alteration of the

timeline is again portrayed by a crackle of electricity. This event can actually be interpreted both as an alteration of timeline or establishing an alternate reality as the show ultimately reveals a character played by the same actress, clearly having connections to her but ultimately not being her. Ultimately the sound of electricity in both of these cases clearly marks major alterations in reality as the characters know it and thus acts as an aid to establish the borders of reality and non-reality.

The electrical crackle is not the only sound used to underline a significant change in reality. The second season of the show sees Maddy Ferguson, Laura’s cousin, again played by the same actor, having strange connections to Laura often portrayed by visions of her. During the murder of Maddy, the scene mirrors Laura’s death and is accompanied by the clicking of the record player. The sound also makes a very brief appearance in The Return. As Cooper visits the Palmer house with Carrie Paige he soon makes the conclusion that the reality has been augmented. As he seems to reach this conclusion a similar clicking is heard in the background for a short amount of time.

Therefore there appears to be a connection between the fates of all of these incarnations of Laura and the clicking of the record acts as a guiding mechanism as to determine whether the timeline is augmented or not. As Maddy and Laura were originally part of the standard timeline the clicking was consistent and uninterrupted. However since

Carrie Page seems to be a part of different universe, created by Cooper’s intervention, the single click actually acts as an end of an imaginary record, marking the dead end

Cooper and Paige find themselves in due to the alteration in the timeline.

The droning sounds that are often used to create a sense of suspense have been largely revised. These type of sounds were at times accompanied by an occasional trill of a brass instrument in the original as to provide some warmth to contrast the

seriousness of a murder investigation. As The Return is not concerned with a particular murder investigation, the need for such contrast disappears. The droning is much colder in timbre, more synthetic and distant. It provides a general atmosphere of indifference and futility, the viewer is not encouraged to connect to any particular character in the story but rather to experience existential terror. This is more typical for Lynch’s movies and therefore not represented in the original Twin Peaks. With such topics as nuclear destruction and the damage to the very fabric of reality, the usage of this type of sound supports the notion of ever present danger

2.4 Vocal effects In the process of creating a compelling soundscape, Lynch also does something not often explored by his contemporaries. He uses artificial effects to distort speech for various purposes.

An example of this would be the effect used in all three seasons to mark the speech of characters outside the primary reality. This style of speech has been originally reserved for the characters of the waiting room of the Black Lodge, however in The

Return there are more characters in other realms outside of reality marked by this effect.The method in achieving this effect is to have the actors record their lines backwards and subsequently reverse the sound, which results in the lines being somewhat comprehensible but also very grotesque sounding. This vocal effect again distinguishes between the real and unreal and the statements uttered in this style are often presented as clues, designed to progress the main storyline.

Another instance of using a vocal effect to convey a paranormal characteristic of a character is the usage of a distortion effect. This occurs solely in the 2017 season and is used most prominently with the character of the woodsmen. The woodsmen are portrayed as paranormal beings, travelling between realms and at times intervening in

human affairs. Though the woodsmen’s speech is cyclical and they only seem to alternate between two phrases, the effect of their voice seems to have hypnotic effects and thus it is critical for the development of the plot as was mentioned in the first chapter. However the impact of the scene would be compromised should the voice of the woodsmen be presented in the original unaltered state. It is precisely the distorted synthetic quality of their deep voice that lends their on-screen appearances a hypnotic, unsettling quality. It also marks their origin caused by the atomic bomb, insinuating that they were born from destructive piece of technology, which is why they have a synthetic, mechanical quality to their voices.

3. Set design

Similarly to the soundscape David Lynch has opted to be as personally involved as possible in the set design. According to Peter Deming Lynch bases the production design on his paintings, and therefore they are greatly reflective of his personality

(O’Falt). This can be seen in the frequent inclusion of the imagery of the 1950’s with its diners, cars and interior design as Lynch is commonly associated with these aesthetic designs (Hawking). Therefore majority of the details of the set design, depicted on screen and the ways in which they are depicted serve a very specific purpose be it for the purpose of narration or creating a certain atmosphere. This is also reflected in the structure of the set that is used while depicted scenes that incorporate paranormal occurrences, frequently - although more so in The Return - with the assistance of pieces of technology.

3.1 The Tale of Two Lodges The centerpiece in the design of the original Twin Peaks show is the Black

Lodge or more specifically the Waiting Room of the Black Lodge, sometimes also referred to as the Red Room. Its velvet curtains and vinyl floors with zig zag patterns have become a cultural icon in themselves. It is portrayed as a spacious room, typically with two armchairs, although the number often varies. It also contains a marble statue of

Venus de’ Medici. The design of the room remains largely unchanged in The Return with the exception of the evolution of The Arm which can be considered both a character and a piece of set design. Although its origin is attributed as a part of the Nez

Perce mythology in the original, it is later revealed that the existence of the place in question has been caused by the test of the atomic bomb in 1940. However the main

evolution is the decision of the creators of the show to include the counterpart to The

Black Lodge in the 2017 continuation.

Even though it is unclear whether the counterpart in question is actually The

White Lodge, the moral antithesis to the Black Lodge, or simply another paranormal realm of existence, it is apparent that its design is a reaction to that of the Black Lodge.

The dominant bright red colour of the Black Lodge is contrasted by the decision not to use any colors with the obvious exception of black and white. Such decision may have been inspired by the historical perception at the use of colour, since “until 1970’s, black and white movies were considered to be purer than films with colour” (Monaco). As a director with the keen interest in 1950’s aesthetic, it is possible that Lynch decided to pursue this style and portrayed the White Lodge in an unadulterated state of purity, symbolized by said lack of color.

The only other color that briefly appears in the White Lodge is gold which is reserved to portray the orb that has emanated from the body of the Fireman and presumably contained an essence that was sent to earth to later become Laura Palmer.

The lack of color mirrors the intention that was behind creating the design of the Black

Lodge which was to portray a false sense of comfort and security and contrast the events that take place in it. Similarly to that the design of White Lodge conveys a sense of tension and dismay despite being the place of the ultimate virtue. The design of the

White Lodge takes inspiration from the Victorian England, displaying a significant amount of ornamentation, rather intricate tapestry corresponding to the garment worn by Señorita Dido, a woman, the only inhabitant of the White Lodge with the exception of the Fireman. Interestingly the design seems to also incorporate certain steampunk elements such as the device in the shape of the colossal kettle, exuding steam during the conversation with Cooper as well as the machinery that is used to transport the orb

containing the essence of Laura Palmer to the Earth. This machinery consists of an intricate clockwork scheme and a tube resembling the shape of the phonograph horn.

As the steampunk esthetique typically features Victorian or Edwardian architecture and steam powered machines, often utilizing clockwork parts it is conceivable that David Lynch based the White Lodge on this very style (Nally). It also creates a curious distinction between the moral alignments of the characters, linking the morally virtuous character to the steam powered technology and marking the corrupt characters by the crackle of electricity. In short, the design of the White Lodge employs technology as a vessel for incorporating the paranormal into its design.

3.2 Audrey’s Purgatory Essentially the entirety of the story arc of balances on the edge of the real and surreal. Certain elements of her storyline point to the fact that she is a trapped in purgatorial state, for example the fact that the majority of the screen time is spent in argument with her husband Charlie. The fact that Charlie is portrayed by Clark

Middleton, an actor suffering from the physical ailments relating to juvenile arthritis, also contributes to the fact that the scenes are not happening in the primary timeline, as per Lynch’s tendencies to use actors with various physical disabilities to portray supernatural characters. However none of these cues are enough to make a conclusive state regarding Audrey’s fate. However a closer look at the set design reveals several anachronisms in the scene.

The design of Audrey and Charlie’s home resembles the design of the Great

Northern Hotel above all else. Due to the passing of 25 years it would be expected for the design to reflect the changes and trends in interior design, yet it is not the case.

While it is not outside the realm of possibility that someone would opt for a dated

design, Charlie’s desk reveals two other and perhaps more notable anachronisms. For one, it is revealed by Charlie that this is in fact the place where he works as he tells

Audrey that he needs to finish his paperwork first (“Part 12”). However his work desk does not contain a computer, not even a typewriter which is highly unusual for any type of administrative worker. Furthermore, his desks contains a dated rotary telephone, considerably dated than other phones displayed on the show which further suggests that the scene reflects Audrey’s perception of the world as she knew it during it at the time of the events of the second season. Other than the phone, the only technology portrayed in the room are lamps, there is no television, no radio, no sign of any contemporary technology. With this being the case it appears that not only does Lynch tend to portray the paranormal using modern technology, but sometimes he achieves the very same effect by its purposeful omission.

3.3 At the grasp of the paranormal

Another place where the paranormal meets technology is the research facility in the New York containing a mysterious glass box. The people in charge of the facility keep surveillance of the box at all times be it by cameras pointed at them or by hiring part-time workers to simply watch the glass box at all times. As the story progresses,

Agent Cooper briefly appears in the box before disappearing again. This demonstrates that there is a technology available to humans, that has the capability to connect to someone who exists in a different realm of being. Even though Cooper does not manage to use the box to cross into the primary reality, however another character, know simply as the Experiment succeeded in doing so resulting in the death of Sam Colby and

Tracey Barberato. Although the origin of the box is never explained, it is plausible that it is man-made , suggesting a leap of technology that caused the humans to overcome the barriers of time, space and alternate reality.To pursue this even further, the box

symbolizes, the hope of mankind to eventually garner a more comprehensive understanding of the paranormal phenomena through the usage of such technology and to perhaps amend the damage to the fabric of reality that was caused by the detonation of the atomic bomb. However it also serves as a reminder of the power of the paranormal forces and their willingness to interfere in the primary reality.

3.4 At the doorstep of paranoia

Lastly, there is one specific set design that conveys the evolution or perhaps the decline of a certain character. When the psychiatrist Dr. Jacoby is first introduced in the original he is presented as eccentric and offbeat, at least considering his occupation, yet ultimately effective and involved. As he is keenly interested in Native American mythology, his evolution is all the more surprising. The 2017 iteration of Twin Peaks sees Dr. Jacoby descending into madness similarly to during his reenactment of the civil war in the original. Dr. Jacoby is presented as even more erratic, bitter, not practicing psychiatry anymore and instead producing his own radio show under the moniker of Dr. Amp. It is precisely the decisions regarding the set design of Jacoby’s workplace, presumably located at his home, that is evocative of his mental decline. The scenes of Jacoby performing his show, feature him facing his desk with his back against the flag of the United States and a miniature of the Statue of

Liberty. As he comments on life in the US it is curious that the would not put these icons into a place, where he would see them during the making of the show. Instead he sits at his desk overflowing with audio equipment, probably a lot more than is needed for the show. Him facing away from the landmarks he comments on and focusing on the

chaotic set up symbolises that he is out of touch with the things he deliberates on and that his entire life purpose has diminished into making a radio show about conspiracy theories. This is a dramatic change in the development of the character as he was formerly a source of vast knowledge of the Native American mythology, making him a viable advisor on the subject of paranormal occurrences relating to this very culture, yet his obsessive use of technology has turned him into a false prophet, not providing any hope as to how to understand the forces of paranormal.

4. Social commentary

With works of such interpretative potential as Twin Peaks, there are many opportunities to comment on the state of the society and current events without disturbing the natural flow of the show. Also sometimes scenes that were not originally meant to do so, become a very compelling piece of social commentary. However in order to preserve the narrative structure it is important to do so with resources that naturally occur in the scenes in question. In the span of 25 years, not only have the social commentaries changed but the way in which they are presented has shifted also, expressing the commentaries through the portrayal of technology rather than paranormal.

4.1 The Nuclear Threat One of the self-evident social commentaries from the Twin Peaks: The Return is the warning against the destructive nature in which can modern technology be used. The clearest example of this is the inclusion of the explosion of the atomic bomb which recalls perhaps one of the biggest anxieties of the post World War 2 world - the fear of nuclear annihilation. As this is a direct callback to the nuclear arms race, it is abundantly clear that Lynch aims to invoke the time when the leaders of the world were preoccupied with trying to be the potentially most destructive force in the world. The creation of the evil from the explosion of the atomic bomb seems to be an analogy to the destructive potential of humanity that, while it always has been present, has been made abundantly clear by the detonation of atomic bombs in Hiroshima and Nagasaki.

Of course the promise of technology can sway a person or whole scores of people in different ways than seducing them by its destructive potential. Ever since the invention of television, there have been concerns about the effects of such technology.

With the subsequent invention of internet and its widespread usage via computers or

smartphones, the worries about such technologies are now more pressing than ever. One of the criticism that are most often voiced against these products of technology are that they promote passivity or even violence. David Lynch apparently holds similar views which can be seen in the portrayal of Sarah Palmer. After losing essentially the entirety of her family, Sarah Palmer has adopted a fairly routine lifestyle, consisting predominantly of watching television. Incidentally the programs of her choice are all centred around violence. As the story unfolds, Sarah grows exponentially more aggressive. While it could be argued that her behavior stems from the tragedy in her life, this only furthers the concerns, suggesting that especially vulnerable people might be more easily influenced by these types of technology. Incidentally this portrayal shows elements of both technology and the paranormal as it is implied that Sarah is a host for the dark force named Jowdy or Judy. Therefore this scene appears to be a hyperbolical commentary on the combined effect of human vulnerability and the effect of technology on one’s behavior.

4.2 The power of disinformation Dr. Jacoby’s portrayal is perhaps the most specific and precisely portrayed social commentary of all featured in Twin Peaks: The Return. The show of Dr. Amp was already mentioned however the format of the show serves more purposes than just to show the decline of the character. Every detailed aspect of Jacoby’s performance seems to be a commentary on the widespread issue of the rise of conspiracy theories and more importantly the growing number of people who support them. Jacoby’s show contains the key aspects of conspiracy theories, such as vaguely worded message with the aim of inspiring fear in the general population and the promotion of the distrust towards the authorities. There is also the product, a universal solution, that incidentally generates income for the prophet, here represented by a golden shovel that is supposed to be used

to: “... shovel your way out of shit (“Part 5”). Interestingly the characters bowtie shows two lightnings bearing remarkable similarity to the runes used by the Schutzstaffel as well a military hat which presumably references the rise in right wing conspiracy based media such as Alex Jones’ Infowars, featuring outlandish conspiracy theories, the best known of which is the supposed intention of the government to cause frogs to be homosexual. Also Amp’s audience is portrayed as gullible, consisting of Nadine Hurley who seems to be infatuated with Jacoby and Jerry Horne, following the show while smoking a marijuana cigarette (Fradley et all 84).

As microphone is also used as a method of paranormal possession in Twin

Peaks, the hyperbolic warning here seems to be that all of these theories and especially the ones that sound the most compelling, should be taken with more than a grain of salt.

The Conclusion

Though some admirers of Lynch’s work felt betrayed by the changes made in the process of the creation of Twin Peaks: The Return, closer inspection reveals that many of the beloved aspects of the original are in fact still present albeit on many occasions in an altered form. Unavailable actors from the original are not recast but replaced on some occasions by an anthropomorphized piece of technology.

Lynch has also decided to use his platform of a successful artist to provide a social commentary warning against the growing threats in the world, namely the rise in disinformation and conspiracy theories, as well as the ever present threat of nuclear warfare. Although Lynch has previously included social commentaries in his works, never has it been done so extensively and in such detail as in Twin Peaks: The Return

Even after more than 40 years in the industry Lynch seems to still be passionate about every aspect of the creation of visual media, be it set design or the sound production. His involvement in these disciplines causes the whole medium to be more evocative of Lynch’s idiosyncratic. The specific usage of sound is used to mark certain types of characters. Similarly to that the set design reflects which plane of existence certain characters.

Where other directors might opt for a sequel that would be written as a fan- service to ensure its success and to uphold David Lynch has yet again opted to follow his artistic integrity and created a self-contained piece of art that pushes the boundaries of how the paranormal can be created.

This is especially important in the contemporary movie industry that is increasingly motivated by the monetary earnings which become increasingly more independent on the actual quality of the movie and more dependent on the marketing strategies that it employs. The industry now more than ever needs idiosyncratic

directors who take risks and are unafraid to evolve even with the possibility of losing their following.

Although David Lynch is well recognized as an artist, one can not help, but think about the artists of the future and whether they will be also able create art that does not compromise its purpose, but at the same time is aware of its place in time, commenting on the state of society where needed.

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Resumé

Cílem této práce byl rozbor a lepší porozumění vývoji uměleckého stylu amerického režiséra Davida Lynche, obzvláště pokud jde o jeho vyobrazování moderní technologie.

Práce obsahuje základní teoretické podklady, potřebné pro pochopení kontextu v jakém režisér působí a také informace nutné k seznámení se s jeho dřívější tvorbou, která informuje jeho tvorbu současnou. Jsou zde také nastíněny základní koncepty teorie filmu. Hlavní součástí této práce je podrobná analýza vypodobnění postav, vyprávění příběhu a sociálních komentářů. V neposlední řadě se tato práce také zabývá, různými interpretačními teoriemi, které lez uplatnit zejména kvůli velkému interpretačnímu potenciálu tohoto seriálu

Summary

This thesis attempts to analyse the artistic style of the American director David Lynch in order to promote better comprehension of his work. The thesis contains basic theoretical framework, necessary for full understanding of the context in which Lynch operates as well as resources facilitating further knowledge of Lynch’s earlier work which in a lot of ways informs his contemporary style. The thesis also touches upon some basic concepts of film theory. The main portion is devoted to a comprehensive analysis of the depiction of characters, the storytelling as well as providing a social commentary which is possible mainly due to the interpretative potential of the original.