New Chapter: Twin Peaks: The Return – Sound Design and Rhizomic Storytelling

LauraHaving published a chapter on Twin Peaks: The Return earier in the year, in Critical Essays in Twin Peaks, my co-writer Rupert Loydell and I developed a second paper that we delivered at a couple of conferences in 2018 and 2019.

In the course of these conferences, we found a second  publisher and have since delivered a new chapter on the series. Sound Design, Music and The Birth of Evil in Twin Peaks: The Return is due for publication by Routledge in 2020, in an edited collection called Listen To The Sounds: Music and Sound Design in Twin Peaks, edited by Reba Wissner and Katherine Reed.

In the Chapter, we explore how Lynch makes use of intricate sound design, score, existing source music and music performed within the diegesis to articulate and distinguish the real world geography from the supernatural spaces of the series, and how sonically distinct liminal spaces connect these within a rhizomic narrative. We examine how the series as a whole makes use of intertextual connections to conventional and experimental film form and how a complex relationship between sound and visuals – and the manipulation of these media – lends an otherworldly quality to The Return and allows the series to further extend established Lynchian worlds.

About Kingsley Marshall

Dr Kingsley Marshall is a film composer, producer and academic. Head of Film & Television at the CILECT accredited School of Film & Television based within Falmouth University in the UK, the subject area consists of 40 staff working with 500 undergraduates, supplemented by a postgraduate community studying from MA level through to PhD. Kingsley’s research and practice primarily orientates around the use of sound (including music and effects) in cinema and television, and the production of short and micro-budget feature films. He executive produced Wilderness (Director: Justin John Doherty, 2017) which won 13 awards at international film festivals since making its premiere at Cinequest, and Mr Whippy (Director: Rachna Suri, 2019). In 2018 he co-produced with Neil Fox the short HP Lovecraft adaptation Backwoods (Director: Ryan Mackfall, 2019), which began its festival journey in 2019. More recently, Kingsley recently completed the score as composer on a film project - Hard, Cracked the Wind - with director Mark Jenkin and production company Early Day Films. The film premiered at Encounters Film Festival in September 2019. For over twenty years he has worked as a journalist, interviewing filmmakers, musicians, and designers for over 30 publications and broadcasters worldwide, written album sleeve notes and biographies for over 100 artists, and contributed to anthologies on hip hop and soul. He can be found on Twitter as @kingsleydc