i
ek, Slavoj 29, 58, 78–9, 162, 171Note: page numbers in italics refer to illustrations.
ABC 60
Absurda 149
Adams, Parveen 163
aesthetics 30–1, 40, 97, 118, 121–2, 125, 136, 164–5, 167–8, 171 see also death aesthetic;
femininity aesthetic
aesthetic strategies 15, 36, 44, 75–7, 142, 144, 173
alienation 52–3, 60–1, 87, 112, 164, 167–8
allegory 27, 35–6, 38, 41–3, 53, 55
ambiguities 108, 123–4, 168, 171
American Film Institute 12
art cinema 20, 96, 107, 149, 164
Atkinson, M. 149
St Augustine 27
avant-garde 17–18, 20, 63, 107, 144, 152–3, 158, 162, 164–6, 172–5
Ayers, Sheli 61
Bal, Mieke 19
Banham, R. 74
Barnard, Suzanne 43
baroque culture 34–5, 39, 43–4, 162–4, 168
Barthes, Roland 15, 18, 33, 49–50, 64, 66, 118, 122, 154–5, 159, 177
Bataille, Georges 53
Bazin, André 42
beauty 34, 36, 39–40, 42, 44, 136
Benjamin, Walter 25, 27, 34–6, 39–41, 43–4, 164, 168–9, 171, 175
Bergstrom, J. 120
Blue Velvet (1986) 28, 31, 33, 63, 71, 74, 78, 88, 117, 119, 126–8, 136
Boat (ongoing experiment) 152
Botting, Fred 28–9
Bracewell, Michael 64
Brecht, Bertold 75
Breton, André 17
Brooks, Peter 50
Bryan, Geraint 78–9
Buci-Glucksmann, Christine 43, 162, 171
Buckland, W. 167
Buckley, Tim 100
Buñuel, Luis 163
Burke, S. 15
Butt, Gavin 173–4
Cameraimage Film Festival 145
capitalist production/consumption 75–6, 86, 126, 142, 152–3, 165, 167–8, 171, 173, 178
Cartesian perspectivism 16
Catching the Big Fish (book) 11, 155
Un Chien Andalou (Buñuel and Dali) 163
cinema screens, windshields as 72–3
‘The Cinematic Sublime...’ Conference 53
cinematic technology 27, 41, 73, 126, 164 see also digital technology
circularity 30, 44, 84, 101, 165 see also Möbius-like structures
Clarke, Roger 142–3
Clark, T. J. 19
Clayton, Jack 119
cliché 58, 61, 111, 126–7, 178
cognitive approaches 128, 166–7, 170
commodity fetishism 76, 81, 120, 152, 167–8, 171, 178
Copjec, Joan 49–51, 57, 59, 64, 66, 164, 169–71
critical discourses 53, 163, 175–6
crossing of boundaries 96, 122–3, 137, 167
crying see excess; tears
Cubitt, Sean 118–20, 152, 167–8, 173
Czechoslovakian Film School 12
Dali, Salvador 163
Daniel, Alistair 86
Daniel, Frank 12
The Darkened Room (2006) 66, 143, 152
darkness 109, 124, 126–7, 134–5, 143, 169
DavidLynch.com 12, 20, 66, 90, 143, 149, 152
David Lynch: The Air is on Fire (exhibition) 12
Davison, A. 75
death aesthetic 26–31, 33–8, 44, 53, 122, 132, 164, 178
deconstruction 53, 108, 122, 150, 178
deferred action 20, 101, 103, 105, 111, 117, 132, 174
Deleuze, Giles 21, 153, 177–8, 180
desire 19, 31, 38, 41, 81, 97–8, 108–11, 122, 128, 153, 170–3, 177
Detour (Edgar G. Ulmer, 1945) 20, 71, 77–9, 95, 106–7, 109, 112, 164–5
Diderot, Denis 51–2
digital technology 20, 119, 126, 165–6
on DavidLynch.com 90
in Eloge de l’amour 73
in Eraserhead 141, 149–50, 154
in INLAND EMPIRE 113, 140, 141–5, 146–7, 148–59, 156–7, 165
in Mulholland Drive 142–3, 145, 149–51, 154
in Twin Peaks:Fire Walk with Me 154
distribution 149
Dmytryk, Edward 75
Dolar, Mladen 117, 134–6, 171–2
domestic settings and the uncanny 125–33
doubles 28–9, 39, 120, 122, 132–4
Duras, Marguerite 20, 95, 112, 164–5
DVDs 12, 14, 17, 31, 45, 66, 150, 152, 177–8
Dynamic:01 The Best of DavidLynch.com (VHS) 12, 66, 152
Eagleton, Terry 15
early cinema 117–19, 142, 144, 150, 152, 163, 166, 168
Easy Rider (Dennis Hopper, 1969) 20, 71, 84, 86–7
The Elephant Man (1980) 53–5, 56, 57, 119–20
Ellis, Bret Easton 76
Ellroy, James 76
Eloge de l’amour (Jean-Luc Godard, 2001) 73
Elsaesser, T. 167
emotion 20, 50, 52–3, 62–4 see also excess; melancholia; mourning; tears
Engh, Barbara 129
‘enigmatic messages’ 98
Enlightenment culture 135–6, 164, 171, 177
Eraserhead (1976) 11–12, 25, 53, 127–8
digital technology 141, 149–50, 154
Evans, D. 111
excess 20, 26–7, 34, 50–2, 64 see also tears
in Blue Velvet 63
in The Elephant Man 53–5, 56, 57, 111, 153, 163–4, 170, 175, 178
in INLAND EMPIRE 28, 58, 65, 66
in Lost Highway 57
in Mulholland Drive 48, 58, 60–1, 62, 63
in The Straight Story 57–9
in Twin Peaks: Fire Walk with Me 33, 38, 44, 49, 53, 59–60
exhibitions 11–12
experimentation 12, 14, 66, 90, 96, 110, 112, 142–3, 149–55, 158, 164
extras, spectators as 171, 177–8
failure, possibilities of 44, 50–1, 164, 173–4
fantasy 39, 76, 79, 81, 100, 105–13, 138, 154–5, 159, 167, 171–3
femininity aesthetic 33–5, 40, 44, 63, 135, 164
feminism/feminist theory 22, 88, 174
fine art contexts/practices 12, 17–18, 52, 142–3, 162, 166
Fisk, Jack 12
flashbacks 98–9, 103, 107–8, 111–12, 165
Flieger, Jerry Aline 153, 155, 158–9, 166
Fliess, Wilhelm 103
Francis, Freddie 119–20
Freud, Sigmund 20–1, 151, 153–4, 158–9, 169–71, 178
and immanence/transcendence 30, 43
and trauma/memory 101, 103, 105–6
and the uncanny 120–4, 127, 133–7, 178
Friedberg, A. 168
Friedman, Mira 52
Fried, Michael 50
Frieze 63
Future Film Festival Digital Award 142
gaze theory 16, 63, 98, 169–71, 176
genre 17, 20, 63, 71, 75–9, 97, 117–19, 122, 127, 151, 164–6, 170–2
Gifford, B. 79, 95, 99, 101, 104
Gillick, Liam 64
Giotto 28
Girl with a Dead Canary (Greuze) 51–2, 64
Godard, Jean-Luc 73–4
gothic elements 33–4, 119, 123, 136
Green, André 106
Greuze, Jean-Baptiste 51–2, 64, 66
Groys, Boris 14
Gunning, Tom 118
Harari, Roberto 125
Hazleton, J. 149
Hendrix, Jimi 41
Hertz, Neil 137
high/popular culture 81, 136, 162, 166, 172
Hiroshima Mon Amour (Alain Resnais and Marguerite Duras, 1959) 20, 95–9, 107, 112, 164–5
historical contexts 33–6, 40, 44, 51, 64, 71, 74–6, 96–7, 117–19, 135, 162–7, 175–6
Hitchock, Alfred 109–10
Hoffmann, E. T. A. 118–20, 133
Holden, William 150
Hollywood 18, 20, 53, 60, 72–6, 86, 95–6, 108–11, 118, 142–5, 162–8, 172
home cinematic technology 45, 73, 177–8 see also DVDs
Hopper, Dennis 20, 71, 84, 86–7
Howard, June 50
hysteric, discourse of 51, 64, 66, 174–6
ideologies 112–13
Images (book) 11
immanence/transcendence 16, 20, 23–4, 53, 59, 81, 119, 132, 136
and Eraserhead 25
and INLAND EMPIRE 28
and Lost Highway 39–40
and Twin Peaks (TV series) 25–30, 33, 35–6, 37, 39
and Twin Peaks: Fire Walk with Me 24, 25–31, 32, 34–6, 38–45
‘In Dreams’ (Orbison) 63
industrial elements 54, 127, 145
INLAND EMPIRE (2006) 14, 20, 28, 58, 65, 66, 74, 131, 160, 168, 179
and digital technology 113, 140, 141–5, 146–7, 148–59, 156–7, 165
The Innocents (Jack Clayton, 1961) 119, 123–5
interconnectedness 152–3
interpretation 27, 52, 63, 110, 117, 165, 168–9, 172
Intervalometer Experiments 152
Irigaray, Luce 41
Isaak, Chris 88
James, Henry 123
Jameson, Fredric 76
Jay, Martin 16
St John 53
jouissance 38, 43–5, 63, 98, 104, 134, 164, 177
Journey to Italy (Rossellini, 1953) 42
Kael, Pauline 124
Kantian frameworks 136
Kelly, Richard 151
Kerr, J. 71
Koch, Gertrud 41–2
Kofman, Sarah 34, 120–2, 129, 136, 167
Kristeva, Julia 28, 38, 43, 161, 169
Lacan, Jacques 9, 15, 19–20, 22, 30, 43, 50, 105–6, 163–7, 174–5
networks concept 158–9
objet a/the gaze 63, 134, 136, 169–73, 180
the Real 30, 79, 81, 109–12, 164
The Lacemaker (Vermeer) 163
Lacey, Peter 27
Laderman, David 77
Lang, Fritz 75
Laplanche, Jean 98, 101, 103, 105
Leader, Darian 30
lesbianism 110–11
Lewis, Mark 177
linearity 12, 15, 31, 78, 88, 96, 101, 108–9, 117, 154, 158
literature-cinema parallels 14, 50–1, 75–6, 96, 99
Los Angeles 61, 72–7, 79, 84, 164
Lost Highway (1997) 20, 39–40, 57, 117, 124–6, 151, 154, 167–8, 174
road/vehicle themes in 70, 71, 75, 78–84, 80, 82–3, 88, 89
trauma/memory in 94, 95, 99–101, 102, 103–7, 109, 111–12, 164–5
Louise Bourgeois’ ‘Spider’ (Bal) 19
Luhmann, Niklas 16
Lumière and Company (1995) 116
Lumière Brothers 117–18
Lynch (One) (DVD) 12
‘Magic Moment’ (Reed) 81
Manovich, Lev 141, 143–4, 152, 159, 165
manual operations in filmmaking 143–4
Man with a Movie Camera (Vertov) 144
Marcus, Laura 167
Marling, Karal Ann 81
‘The Marriage of Heaven and Hell’ (Blake) 26
McGowan, Todd 109–10, 113, 141
meaning
levels of 14, 20, 27, 29, 36, 38, 43–5, 52–3, 63–4, 108, 159, 179–80
restricted to auteur 15
melancholia 20, 26–7, 30, 34, 39–40, 43–5, 53, 164
melodrama 49–53, 55, 57, 59, 63–4, 66, 164, 170, 172
Memento (Christopher Nolan, 2000) 96, 107–9, 112, 164–5
memory 95–101, 104, 107–9, 112–13
in Hiroshima Mon Amour 95–9, 107, 112
in Lost Highway 94, 95, 99–101, 102, 103–7, 109, 111–12
in Mulholland Drive 95, 109–12
methodology 18–19
Metz, C. 9
Mitchell, Stuart 78
Möbius-like structures 34, 76, 122, 137, 145, 165, 167
modernism 14, 35, 52, 61, 99, 112, 164
modernity 18, 35, 51, 53, 63, 96–7, 111, 135–6, 166, 168–72, 175
Moran, Mark 143
Moretti, Franco 57
Mulholland Drive (2001) 71–5, 88, 117, 142–3, 145, 149–51, 154, 164–5, 168
trauma/memory in 73, 95, 109–12
Mulvey, Laura 20, 33, 42, 45, 119, 126–7, 136, 170
music 27, 60–1, 63, 79, 81, 88, 100, 106–7, 129
noir 74–9, 81, 84, 96–7, 107–8, 118, 127, 168
and flashbacks 111–12
and melodrama 50–1, 59, 63–4, 164, 172
Nolan, Christopher 96, 107–8, 112, 164–5
nonspecificity 119
normalization of film 117–19, 166
Nouvelle Vague 86
objet concept 63, 134, 136, 169–72, 180
Oedipal narratives 119
Oleszczyk, Michal 150
optical unconscious 42
Optimum Releasing 149
Orbison, Roy 63
Orgeron, Devin 78
otherness 16, 50, 63, 76, 86, 88, 104, 111
painting 11–12, 14–15, 27, 50–2, 141–4, 158, 163, 165–6
Peeping Tom (Michael Powell, 1960) 177
Pennsylvania Academy of Arts, Philadelphia 12, 141, 166
Pensky, Max 39
The Pitch (Mark Lewis, 1998) 177
point-of-view shots 28, 54–5, 57–9, 72, 81, 107
Poizat, Michel 61–3
polarized responses 15, 163–4, 169, 174
popular/high culture 81, 136, 162, 166, 172
postmodernism 162–5, 168–73, 178
and digital technology 153
and excess 51
and immanence/transcendence 30, 35, 39–40
and road/vehicle themes 73, 76, 78
and the uncanny 135–7
post-theory approaches 164, 166, 170
Powell, Michael 177
Premonitions Following an Evil Deed (1995) 116, 117–19
Pretty as a Picture (VHS) 12
primitive filmmaking 166
psychoanalysis 42, 50, 113, 117, 120, 136, 153, 165–7, 171–2, 178
Pynchon, Thomas 76–7
Queen Kelly (Erich Von Stoheim, 1931) 150
Rabaté, Jean-Michel 174–7
Rabbits sitcom 144
radicalism 112
rationalist approaches 135–7, 167, 171, 173, 175, 177
Ray, Man 52
the Real 30, 79, 81, 109–12, 164
Reed, Lou 81
repetition compulsion 41, 61, 74, 77, 99, 104, 129, 132, 137
repression 19, 101, 108, 121–2, 134, 136–7, 144, 158, 171
Requiem in C Minor (Cherubini) 26, 31
Richardson, John 60
road/vehicle themes 20, 90, 164
in INLAND EMPIRE 74
in Lost Highway 70, 71, 75, 78–9, 80, 81, 82–3, 84, 88, 89
and narrative 72–8, 81, 84, 88, 91
in Twin Peaks: Fire Walk with Me 71
Ropars-Wuilleumier, Marie-Claire 96–7, 112
Rossellini, Roberto 42
Royle, Nicholas 20, 117, 120, 122, 128, 171, 174, 177–8
‘The Sandman’ (Hoffmann) 120
Sarafian, Richard C. 20, 71, 87–8
Sargeant, Jack 87
Saturn theme 39–41
Schefer, Jean-Louis 17, 161, 166, 170, 172, 177–8
Screen International 149
Seated Figure (Bacon) 27
Segal, Hanna 30
sentimentality 51–2, 57, 59, 63–4, 66
in Blue Velvet 11
in Eraserhead 127
in Lost Highway 79, 81, 88, 100
in Mulholland Drive 111
in Twin Peaks: Fire Walk with Me 31, 40–2, 52, 66
Sheen, E. 75
Shklovsky, Victor 17
The Short Films of David Lynch 149
Sight & Sound 150
silence 17, 41, 122, 127, 134–5, 161, 169, 175
Sinyard, Neil 123–4
slow motion 26–7, 31, 41–2, 81, 88, 100, 133, 164
solitude 17, 127, 134–5, 162, 169–70, 172, 175, 177–8
‘Song to the Siren’ (Buckley) 100
‘Song to the Siren’ (This Mortal Coil) 81
sound 12, 33, 54, 58–9, 75, 100–3, 123, 127–8, 148–50, 166–8 see also music
Southland Tales (Richard Kelly, 2006) 151
specificity 120
spectatorship 10, 31, 60–1, 67, 90, 96, 110, 165–6, 169, 171, 177–8
Stella Dallas (King Vidor, 1937) 51
The Straight Story (1999) 53, 57–60, 71, 78, 85, 86, 119–20
strangeness 77, 117–19, 124–7, 129, 136–7, 148, 161, 165, 178
The Student of Prague (Hanns Heinz Ewer, 1913) 119–20, 133
subjectivity 43, 50, 64, 96, 98, 105, 109, 136, 155, 159, 164–6, 176
Sunset Boulevard (Billy Wilder, 1950) 75, 150–1, 154
surrealism 14, 38, 42, 118–19, 151, 163, 172
Swanson, Gloria 150
symbolism 21, 27, 30, 35, 43, 53, 63, 86, 99
Taubin, Amy 151
Taylor, Mark C. 53
tears 20, 26–7, 44, 49–53, 55–61, 63–4, 66, 132, 143, 155, 164, 170
temporal disjunctions 27, 29, 31, 36, 59, 96–7, 101, 103, 105–8, 123, 151
time 41–4, 52, 57, 118, 144, 151–4 see also temporal disjunctions;
temporal themes
tragedy 34–6, 44, 63, 66, 77–8, 87, 110–12, 164, 168, 175
transcendence see immanence/transcendence
transcendental meditation 14, 155
trauma 20–1, 30, 66, 113, 125, 128, 133, 158, 167
in Detour 95, 106–7, 109, 112, 164–5
in Hiroshima Mon Amour 95–9, 107, 112, 164–5
in Lost Highway 94, 95, 99–101, 102, 103–7, 109, 111–12, 164–5
in Memento 96, 107–9, 112, 164–5
in Mulholland Drive 73, 95, 109–12, 164–5
in The Straight Story 86
in Twin Peaks: Fire Walk with Me 44
The Turn of the Screw (James) 123
Twin Peaks (TV series) 25–30, 33, 35–6, 37, 39, 119, 134, 164
Twin Peaks: Fire Walk with Me (1992) 11, 20–1, 24, 25–31, 32, 34–6, 38–45, 71, 154, 164, 168, 171
excess in 33, 38, 44, 49, 53, 59–60
the uncanny in 43, 49, 59, 128–9, 130, 132–3
Ujica, A. 14
UK Film Council P&A Fund 149
Ulmer, Edgar G. 20, 71, 77–9, 95, 112
the uncanny 20, 34, 117–37, 161, 165, 167, 169–72, 178
in Blue Velvet 117, 119, 126–8, 136
in Eraserhead 127–8
in INLAND EMPIRE 142–3
in The Innocents 123–5
in Lost Highway 103, 117, 124–6
in Mulholland Drive 61, 74–5, 117
in Premonitions Following an Evil Deed 117–19
in Twin Peaks (TV series) 119, 134
in Twin Peaks: Fire Walk with Me 43, 49, 59, 128–9, 130, 132–3
unconscious mind 42, 98, 103–4, 112, 137, 151, 166
unified field belief 155, 158–9
US National Society of Film Critics Awards 142
Vaché, Jacques 17
Vanishing Point (Richard C. Sarafian, 1971) 20, 71, 87–8
vehicles see road/vehicle themes
Venice Film Festival 142
Vermeer, Jan 163
Vertigo (Alfred Hitchock, 1958) 109–10
Vertov, Dziga 144
Vidler, Anthony 20, 119, 125–6
Vidor, King 51
Virilio, Paul 72
Von Stoheim, Erich 150
Warburg Institute 39
Warhol, Andy 153
Wild at Heart (1990) 71, 78, 84, 88, 89, 169
Wilde, Oscar 133
Willis, Sharon 169
Wilson, Scott 28–9
Witkin, Joel-Peter 163