Starting from Scratch: Turntables, Auditory Representation, and the Structure of the Known Universe in the Films of David Lynch. Randolph Jordan A Thesis in ‘The Mel Hoppenheim School of Cinema Presented in Partial Fulfilment of the Requirements for the Degree of Master of Arts (Film Studies) at Concordia University ‘Montreal, Quebec, Canada September 2003 © Randolph Jordan, 2003National Library of Canada Acquisitions and Bibliographic Services 395 Wellington Street Ottawa ON'K1A ONE Canada Canada The author has granted a non- exclusive licence allowing the National Library of Canada to reproduce, loan, distribute or sell copies of this thesis in microform, paper or electronic formats. The author retains ownership of the copyright in this thesis. Neither the thesis nor substantial extracts from it may be printed or otherwise reproduced without the author's permission Canada Bibliothéque nationale du Canada Acquisisitons et services bibliographiques 395, rue Wellington Ottawa ON K1A ONE Your fle Votre référence ISBN: 0-612-83943-5 Ourfle Notre référence ISBN: 0-612-83943-5 Llauteur a accordé une licence non exclusive permettant a la Bibliothéque nationale du Canada de reproduire, préter, distribuer ou vendre des copies de cette thése sous la forme de microfiche/film, de reproduction sur papier ou sur format électronique. Llauteur conserve la propriété du droit d'auteur qui protége cette thése. Nila thése ni des extraits substantiels de celle-ci ne doivent étre imprimés ou aturement reproduits sans son autorisationABSTRACT Starting from Scratch: ‘Turntables, Auditory Representation, and the Structure of the Known Universe in the Films of David Lynch Randolph Jordan ‘The films of David Lynch are considered here in terms of their use of sound and the presence of sound technology within their narratives. Drawing on recent work in media theory, sound theory, Lynch criticism, and the philosophy of music, itis argued that approaching Lynch from the perspective of sound yields highly productive ways of understanding his work. Itis demonstrated that Lynch’s films illustrate an awareness of the development of sound technologies in the 20" century and the effect these technologies have on human psychology. His obsession with phonograph tumtables is a specific case in point. Lynch’s films are also considered in terms of artistic traditions that have embraced the use of sound recording, technology as instruments of music production, particularly late 20" century sample-based art. ‘The theoretical implications of sampling are considered in detail, and these implications are applied to detailed analyses of Lynch's works as a way of understanding his place in contemporary sampling culture. Finally, it is argued that Lynch’s films explore the state of anxiety that has arisen around the technological separation of the senses of hearing and sight, both from each other and from their grounding in the human body. As such, his films explore the very birth of cinema itself, and how people have responded to a medium which takes the separation of the senses as its basic operating paradigm. ii