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David Lynch and Alan Splet created the sound for Eraserhead. Lynch claims that all of the sound effects are organic , but this does not assume that they are applied realistically throughout the film. Sounds and background noise are overbearing, while tunes are sparse. Apparently, only twenty-two pages of dialogue were scripted for Eraserhead, which usually represents only twenty-two minutes of footage. Alternatively, long cuts, dream sequences and constant sound effects draw the film out to a troubled and unsettling eighty-nine minutes (Goodwin 1984 pp. 41-50). I will examine several aural aspects of the film and analyse its purpose in the context of the narrative. Non-diegetic sounds are off-screen and not related to the narrative. Further to non-diegetic sounds, Eraserhead is consistent with its use of ‘territory sounds’, a term used to describe sounds that are heard in a setting without observing the source. The industrial mayhem - whooshing, hissing, clanging, knocking, hammering and bumping are distinct to particular settings. As Henry visits each location, the distinctive sounds establish spatial distance and new circumstances. The noise level is often relevant to whether he is inside or outside. However, this is not always the case because the territory sounds also play a role in indicating Henry’s mental capacity so the sounds also increase or deplete to heighten tension (Chion 1994 pp. 63-80). The diegetic sounds in Eraserhead are not authentic because they are louder, sharper and highly contrast the existing industrial sounds. Whenever incidental sounds are emitted, they are abnormally loud to intensify the ill feelings. Upon hearing sounds, the audience ear calculates proximity, for example, ripping up the lettuce and applying the salad dressing in Mrs X’s kitchen, seem to be next to the audience ear. The amplification creates anxiety and the dire issues impending in the X household (Bordwell & Thompson 1989 pp. 240-242). A peculiar diegetic sound occurs as Mary is gritting her teeth and rubbing her eyes. The sounds are sickening as they are tremendously amplified and exaggerated with an accompanying extreme close up shot. These personal sounds are not to interpret Mary’s state; it is an aural point of view from Henry to symbolise his emotional state (Chion 1994 pp.
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