scholarly journals David Lynch

2021 ◽  
Vol 2 (1) ◽  
pp. 1-17
Author(s):  
Beatriz Rauscher ◽  
Karine Rouquet ◽  
Nikoleta Kerinska
Keyword(s):  
Film Noir ◽  
David Lynch

Este curta metragem, para além da alegada herança do surrealismo, utiliza processos híbridos cômicos e fantásticos (como a criação de uma quimera, a narração disruptiva, os diálogos nonsenses voltados para a fatrasia), que retomam a carnavalização descrita por Michaël Bakhtine, e mais particularmente La Sottie, uma peça satírica em versos, de origens medievais, apresentada na época do carnaval. A referência ao Elogio da Loucura de Erasmo seria uma prova disso. Nesse desfile bufão, David Lynch feito um Mestre do Absurdo [1] se diverte colapsando os códigos da narração do film noir, como sua própria filmografia, criando uma estética turbulenta capaz de desafiar a plataforma disruptiva sobre a qual se faz sua estreia.

The “Eagle Scout Film”: David Lynch as Auteur and Genre Filmmaker

Film Matters ◽  
2021 ◽  
Vol 12 (2) ◽  
pp. 81-97
Author(s):  
Jonathan Monovich
Keyword(s):  
Film Noir ◽  
David Lynch ◽  
Hybrid Films ◽  
Hostile Environments

Knowing David Lynch’s background as an Eagle Scout, this article explores that many of Lynch’s films and their protagonists, particularly Jeffrey Beaumont (Kyle MacLachlan) in Blue Velvet (1986), embody Eagle Scout-like heroes and serve as genre-like “Eagle Scout films.” These films and their protagonists have similarities with the film noir and western genres and their detective/cowboy heroes through their dealings with ethics, morality, and justice in sadistic worlds. In his genre-hybrid films, Lynch acts as an auteur in using recurring thematic preoccupations/stylistic tendencies, while exemplifying hostile environments offset by a central protagonist with an Eagle Scout-like set of morals.

scholarly journals David Lynch

2021 ◽  
Vol 2 (1) ◽  
pp. 1-15
Author(s):  
Karine Rouquet
Keyword(s):  
Film Noir ◽  
David Lynch

Ce petit film, au-delà de l’héritage revendiqué du surréalisme, utilise des procédés comiques et fantastiques hybrides (création d’une chimère, narration disruptive, dialogues abusant du coq-à-l’âne et tournant à la fatrasie) qui relèvent de l’inversion carnavalesque décrite par Michaël Bakhtine et plus particulièrement de la Sottie, pièce satyrique en vers que l’on représentait au moment du carnaval. La référence aux Absurda de Érasme en serait la preuve. Dans cette parade bouffonne, David Lynch en Maître-Sot ou Maître es Folie s’amuse à court-circuiter les codes du film noir de la narration, comme de as propre filmographie, créant une esthétique turbulente propre à défier la plateforme disruptive sur laquelle il fait son entrée.

scholarly journals “That Show You Like Might Be Coming Back in Style”: How Twin Peaks Changed the Face of Contemporary Television

2015 ◽  
Vol 24 (1) ◽  
pp. 44-68 ◽  
Author(s):  
Raluca Moldovan
Keyword(s):  
Original Work ◽  
Film Noir ◽  
David Lynch ◽  
American Film ◽  
Twin Peaks ◽  
The Face ◽  
Visual Style ◽  
Small Screen ◽  
Detective Series

Abstract The present study revisits one of American television’s most famous and influential shows, Twin Peaks, which ran on ABC between 1990 and 1991. Its unique visual style, its haunting music, the idiosyncratic characters and the mix of mythical and supernatural elements made it the most talked-about TV series of the 1990s and generated numerous parodies and imitations. Twin Peaks was the brainchild of America’s probably least mainstream director, David Lynch, and Mark Frost, who was known to television audiences as one of the scriptwriters of the highly popular detective series Hill Street Blues. When Twin Peaks ended in 1991, the show’s severely diminished audience were left with one of most puzzling cliffhangers ever seen on television, but the announcement made by Lynch and Frost in October 2014, that the show would return with nine fresh episodes premiering on Showtime in 2016, quickly went viral and revived interest in Twin Peaks’ distinctive world. In what follows, I intend to discuss the reasons why Twin Peaks was considered a highly original work, well ahead of its time, and how much the show was indebted to the legacy of classic American film noir; finally, I advance a few speculations about the possible plotlines the series might explore upon its return to the small screen.

: Eraserhead . David Lynch.

1985 ◽  
Vol 39 (1) ◽  
pp. 37-43 ◽  
Author(s):  
K. George Godwin
Keyword(s):  
David Lynch

The Ecologies of Film Noir

2018 ◽  
Author(s):  
Jennifer Fay
Keyword(s):  
Film Noir ◽  
American Film ◽  
Consumer Capitalism ◽  
Human Happiness ◽  
Rental Property ◽  
The Individual ◽  
Artificial World

Postwar American film noir explores an artificial world that does not foster human happiness and growth, but leads to a kind of human incapacity to act and respond. Beyond merely depicting these negative environments, noir lays bare the attachments to bad living and unsustainable striving that underwrite the accumulating culture of the Anthropocene at midcentury. Positioning itself as the genre that critiques postwar peaceful prosperity, noir gives us the characters, places, and scripts for human expiration as the counter to both nuclear survivalism and consumer capitalism. The hospitality of film noir is rental property. Indeed, impermanent dwelling of the individual and humanity as a whole is one of noir’s lessons for the Anthropocene. American noir is an ecological genre that teaches us in the spirit of Roy Scranton’s book how “to die in the Anthropocene.”

Sign in / Sign up

Export Citation Format

Share Document