Beyond Authenticity

Mulholland Drive (2001) forms the centerpiece of the final chapter, which assesses not only cinema’s recent transformation of the detective story but also David Lynch’s exploration of the genre’s multiple ancillary pleasures. So enthralled is he by them that the film comes to seem a meta-investigation, reducing any over-arching plot to sustained uncertainty if not complete irrelevance. Instead, it has been displaced by the beguiling divergences offered from the beginning by hard-boiled divergences. In a film in which all the ingredients of “furniture,” attitude, and identity are present (including a femme fatale, flashbacks, noirish lighting, and identity reconstructed) nothing finally adds up, or is meant to. That may be the most satisfying conclusion to a genre vehicle born of diversion and misdirection.

Representations of queer identity in David Lynch's film Mulholland Drive

The purpose of the article. This essay considers the queer identity as a modern tragic figure through a reading of David Lynch's 2001 film Mulholland Drive. Methodology. The article uses a comprehensive interdisciplinary approach using the methodological tools of cultural studies and queer theory based on structural-functional, semiotic-hermeneutic analysis, as well as Lacan's psychoanalytic concept of the subject. The scientific novelty. Within the framework of the humanities, in particular cultural studies, the analysis of the film by David Lynch "Mulholland Drive" in the context of queer theory is carried out for the first time. Conclusions. Since cinematography is a synthesis of various types of art, it embodies cultural phenomena and reproduces realities of life. Analysis of the peculiarities of the representation of queer identity in David Lynch's film Mulholland Drive through the prism of queer theory, in which identity is nothing more than a phenomenon that forms under the pressure of the dominant discourse and social order gives it the status of a cultural illusion or myth, demonstrates existing ideals. Cinema in the context of queer theory is self-reflective, autocratic, not indifferent. It can create a safe space - and at the same time be a protest action. The means by which the representation of a queer identity takes the place can be traced at all symbolic levels (material, index, iconic). At the material level, the grand plan is used as a sign in which all the characters in the film are related, without separating homosexual women visually. At the level of index status, the creation of the image of a homosexual couple is due to their profession. The heroines belong to the creative environment, in their relationship the dominant role is played by Diane. At the iconic level, images are constructed through their relationship with society. The heroines experience internal contradictions between their psychological state, natural nature, and social norms. The sexuality that is represented in the film contains a confrontation between the individual and the social. There is a tendency to normalize the image of queer identity in cinema, due to changes in the public consciousness. Based on the analysis, it was found that the film David Lynch reflects homosexuality as such, and not in the canonical models of traditional relationships.

Ética Noir en LA

En su vigésimo aniversario, Mulholland Drive mantiene los enigmas morales que la convierten en un objeto de estudio con múltiples interpretaciones. El largometraje de David Lynch es la lucha entre la fantasía y la realidad, con elementos propios de la ética y el romanticismo. ¿Qué enseñanzas podemos sacar de esta cinta de culto? La combinación de un mundo onírico irreal con la tragedia clásica da como resultado una absorbente experiencia para la audiencia, críticos, estudios filosóficos del cine y cualquier persona fascinada por la experimentación en la narrativa. Se propone una lectura de la película considerando investigaciones previas sobre el misterioso trabajo de Lynch. La historia de Betty/Diane Selwyn, una identidad dual, es una oportunidad para reflexionar sobre la condición humana, sus contradicciones y dilemas. Desde su estreno en 2001 hasta el día de hoy, la audiencia de Mulholland Drive está destinada a cuestionarse todo lo que creía saber sobre ella.

Hacia una lógica de la sensación. Una lectura deleuziana al cine contemporáneo a partir de Mulholland Drive

Para Gilles Deleuze, el cine de Alfred Hitchcock culminaba el cine clásico (imagen-movimiento) al mismo tiempo que asentaba las bases de la modernidad (imagen-tiempo). ¿Qué ha ocurrido desde entonces? ¿En qué medida el vínculo sensoriomotor a partir del cual Deleuze fundamentaba ambos sistemas sigue siendo un mecanismo figurativo para el cine contemporáneo? El siguiente artículo considera que Mulholland Drive ha sustituido el canon estético que, en el cine moderno, fue representado por Vértigo. La hipótesis de este texto es que el film de David Lynch explora la imagen-cristal deleuziana desde lo que el mismo Deleuze, a partir de la pintura de Bacon, llamó una “lógica de la sensación”. El desbordamiento de los afectos, la autodestrucción, la pérdida de la identidad, el poder subversivo del deseo o la creencia en un mundo que ya no se conforma con la realidad, son algunos de los elementos que transforman la mirada, la acción y la realidad, ejes principales de la teoría del cine de Deleuze.

Lucky in the Last Years

This chapter takes the reader to aging Harry Dean Stanton's Mulholland Drive home where he watched game shows, worked crossword puzzles, entertained guests with his music. Often he came in late after dinner at Ago and drinks at Dan Tana's, staying up into the wee hours, smoking his cigarettes, going to bed alone. His two closest relatives, Sara Stanton and Jim Huggins Jr., became his protectors when his health failed. At work, he scored important supporting roles in The Man Who Cried (2000) with Johnny Depp and Sean Penn's The Pledge (2001). He was memorable as devious Mormon patriarch Roman Grant in the HBO series Big Love. He was in a handful of forgettable films, too, before landing the lead in his final film Lucky (2017), written by his personal assistant Logan Sparks and Drago Sumonja. The storyline was roughly Harry Dean's own, a fitting screen farewell as health issues landed him in a series of hospitals. Sara and Jim stood guard as legions of friends and fans came to pay homage. He died fearful of death despite the consolations of Zen teaching. His remains were returned to Lexington and placed near his mother's grave.

Harry Dean and the New Hollywood

This chapter begins with an interview with Monte Hellman, one of the seminal directors of the "New Hollywood" era of the 1960s and 1970s that followed the decline of the old studio system and ushered in a new spirit of independence, rebellion, and commitment to film as an art form. Harry Dean was in three Hellman films -- Ride in the Whirlwind (1966), Two-Lane Blacktop (1971), and Cockfighter (1974). He would also appear in the films of several other leading New Hollywood directors such as Francis Ford Coppola, Sam Peckinpah, and John Milius. Harry Dean remained in the supporting cast while his good friend Jack Nicholson rose to stardom. However, a cult status began to grow around him, fueled by his work in films such as Peckinpah's Pat Garrett and Billy the Kid (1973) and Arthur Penn's The Missouri Breaks (1976), which starred his Mulholland Drive neighbors Nicholson and Marlon Brando.

Introdução à filosofia

Resumo: Texto de introdução à filosofia, com ênfase na noção de “espanto”, que, segundo Platão e Aristóteles, constituía do pathos fundamental do pensamento filosófico. Arrancando-nos do fluxo automático da vida cotidiana, o “espanto” abre a possibilidade de colocarmos em questão tudo aquilo que tomávamos tranquilamente como “certo” e “verdadeiro”. Trazendo em nosso auxílio pensadores tais como Nietzsche, Heidegger, Hannah Arendt e Ortega y Gasset, procuraremos demonstrar em que sentido o pathos do “espanto” e o enfrentamento das grandes questões existenciais humanas constituem o fundo da autêntica prática filosófica. Palavras-chave: Filosofia. Espanto. Questões existenciais. Abstract: Introductory text to Philosophy, with emphasis on the notion of "wonder", which, according to Plato and Aristotle, constituted the fundamental pathos of philosophical thought. Pulling us out from the automatic flow of everyday life, the "wonder" opens the possibility of questioning all that we took quietly as "right" and "true". Bringing to our aid such thinkers as Nietzsche, Heidegger, Hannah Arendt and Ortega y Gasset, we will try to demonstrate in what sense the pathos of "wonder" and the confrontation of the great human existential questions constitute the bottom of the authentic philosophical practice. Keywords: Philosophy. Wonder. Existential questions. REFERÊNCIAS ARENDT, H. A vida do Espírito. Rio de Janeiro: Relume-Dumará; UFRJ, 1992. COSTA, J. S. da. A origem da Filosofia. In: CABRAL, Alexandre Marques; SAMPAIO, Juliana Lira; BITTENCOURT, Renato Nunes; BARROS, Tiago Mota da Silva. Filosofia: um panorama histórico-temático. Rio de Janeiro: Mauad, 2013. DELEUZE, G; GUATTARI, F. Mil Platôs I. São Paulo: 34, 2000. DELEUZE, G; GUATTARI, F. O Anti-Édipo. São Paulo: 34, 2010. DI GIORGI, F. Os caminhos do desejo. In: NOVAES, Adauto. O desejo. São Paulo: Cia das Letras, 1990. FAETONTE, C. A; PAMPLONA, F. Nova Ode Mundial. Niterói, 2014. HEIDEGGER, M. Seminários de Zollikon. Petrópolis: Vozes, 2009. HEIDEGGER, M. Que é isto – a Filosofia?. In: HEIDEGGER, M. Conferências e escritos filosóficos. São Paulo: Abril, 1973. HEIDEGGER, M. O que chamamos pensar?. Tradução: Edgar Lyra. Ainda não publicado. LYNCH, D. Cidade dos Sonhos (Filme). Mulholland Drive. EUA, 2001. LYOTARD, J. F. Por que filosofar?. São Paulo: Parábola, 2013. MAGNO, MD. A psicanálise, novamente. Rio de Janeiro: Novamente, 2004. MAGNO, MD. Revirão. Rio de Janeiro: NovaMente, 2003. NIETZSCHE, F. Assim falava Zaratustra. São Paulo: Cia das Letras, 2011 NIETZSCHE, F. Ecce Homo. São Paulo: Cia das Letras, 2008 NIETZSCHE, F. Além do Bem e do Mal. São Paulo: Cia das Letras, 2005 NIETZSCHE, F. A Gaia Ciência. São Paulo: Cia das Letras, 2001 PESSOA, F. Ode Marítima. Orpheu nº 2. Lisboa, Abr-Jun 2015 PIRANDELLO, L. Um, Nenhum e Cem mil. Rio de Janeiro: Cosac-Naify, s/d PLATÃO. Apologia de Sócrates. São Paulo: Nova Cultural, 1999. (Coleção Os Pensadores). SHAKESPEARE, W. As you like it. Cambridge: Cambridge University Press, 2000.

Last Year at Mulholland Drive: Ambiguous Framings and Framing Ambiguities

This article proposes a cognitive-narratological perspective on David Lynch’s Mulholland Drive (2001) and the numerous contrasting interpretations that this film has generated. Rather than offering an(other) interpretation of the film, we aim to investigate some of the reasons why Lynch’s highly complex narrative has gained a cult – if not classic – status in recent film history. To explain the striking variety of (often conflicting) interpretations and responses that the film has evoked, we analyse its complex narrative in terms of its cognitive effects. Our hypothesis is that part of Mulholland Drive’s attractiveness arises from a cognitive oscillation that the film allows between profoundly differing, but potentially equally valid interpretive framings of its enigmatic story: as a perplexing but enticing puzzle, sustained by (post-)classical cues in its narration, and as an art-cinematic experience that builds on elements from experimental, surrealist, or other film- and art-historical traditions. The urge to narrativize Mulholland Drive, we argue, is driven by a distinct cognitive hesitation between these conflicting arrays of meaning making. As such, the film has been trailblazing with regards to contemporary cinema, setting stage for the current trend of what critics and scholars have called complex cinema or puzzle films.