Relevant bibliographies by topics / David Lynch

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'David Lynch'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 January 2025

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Journal articles on the topic "David Lynch"

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Rouquet, Karine. "David Lynch." Revista Estado da Arte 2, no. 1 (June 15, 2021): 1–15. http://dx.doi.org/10.14393/eda-v2-n1-2021-59834.

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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.
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Rauscher, Beatriz, Karine Rouquet, and Nikoleta Kerinska. "David Lynch." Revista Estado da Arte 2, no. 1 (June 15, 2021): 1–17. http://dx.doi.org/10.14393/eda-v2-n1-2021-61587.

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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.
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Godwin, K. George. ": Eraserhead . David Lynch." Film Quarterly 39, no. 1 (October 1985): 37–43. http://dx.doi.org/10.1525/fq.1985.39.1.04a00100.

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Arnaud, Diane. "David Lynch, l’ultime cinéplaste." Ligeia N° 165-168, no. 2 (2018): 35. http://dx.doi.org/10.3917/lige.165.0035.

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Dodson, W. "David Lynch in Theory." Screen 52, no. 3 (September 1, 2011): 415–19. http://dx.doi.org/10.1093/screen/hjr029.

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Biga, Tracy. ": Blue Velvet . David Lynch." Film Quarterly 41, no. 1 (October 1987): 44–49. http://dx.doi.org/10.1525/fq.1987.41.1.04a00060.

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Wyatt, Justin. ": David Lynch . Michel Chion." Film Quarterly 50, no. 1 (October 1996): 43–44. http://dx.doi.org/10.1525/fq.1996.50.1.04a00120.

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Bye, Susan, and Alexandra Crosby. "Review: David Lynch: Interviews." Media International Australia 136, no. 1 (August 2010): 192. http://dx.doi.org/10.1177/1329878x1013600119.

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Sáez-González, Jesús Miguel. "Inland Empire (David Lynch)." Vivat Academia, no. 84 (May 15, 2007): 27. http://dx.doi.org/10.15178/va.2007.84.27-28.

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Zhou, Shuxuan. "Lift the Multiple Veils on Genders Roles in Blue Velvet." Communications in Humanities Research 2, no. 1 (February 28, 2023): 505–13. http://dx.doi.org/10.54254/2753-7064/2/2022594.

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This essay aims to illustrate how gender performativity exhibits gender roles in David Lynchs movie Blue Velvet. This essay brings about the collapse of the stereotyped traditional binary opposition of gender roles. Gender roles rely on the performance of people. However, peoples performances are restricted by society, which has various possibilities. Based on Performative Acts and Gender Constitution (1988) by Judith Butler, this paper analyzes four protagonists various gender performances in Blue Velvet. By going deeper into the psychoanalysis of protagonists and analyzing their behavior choices, this essay argues that Lynch intends to inform his viewers that there is no fixed gender role even in one single person. Through exhibiting the diversity of gender roles, various social environments are presented. David Lynch believes that once peoples gender roles become peaceful, the social environment can also exhibit a peaceful and mild image. This finding contributes to the subversion of gender roles in Blue Velvet.
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Dissertations / Theses on the topic "David Lynch"

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Dalleu, Estelle. "David Lynch, cinéaste de l'oralité." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC006.

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L'oralité a une existence visuelle et sonore récurrente chez David Lynch. Fil conducteur de la relation entre le son et l'image, elle constitue probablement le point nodal de la plastique cinématographique de cet artiste américain, au point qu'il en fait un trait identitaire, un thème obsédant de sa création cinématographique. Issu du latin ōs, ōris, le terme d'oralité permet d'aborder tout ce qui est lié à la bouche, point de contact entre l'intérieur corporel et l'environnement extérieur. L'oralité tient à une mécanique anatomique humaine mais ne se limite pas à la production sonore — elle ne concerne pas que les organes de la parole et l'aspect fonctionnel de la communication. Elle est aussi motif visuel, représentée par son autre lieu stratégique : le visage (terme également issu du latin ōs, ōris). Il y aurait donc une oralité visuelle/visible et une oralité sonore/audible. Ce travail d'exploration de l'oralité chez David Lynch prend la forme d'un parcours anatomique et organique qui mène de la bouche à l'oreille ; de la représentation visuelle et de l'émission sonore jusqu’à sa perception/réception. Et ce qui importe en définitive c'est d'observer de quelle manière l'oralité se manifeste et envisage un ensemble créatif qui opère une rencontre entre les arts du spectacle, les arts visuels et le matériau sonore
Orality has a sound and visual recurrent existence in the work of David Lynch. It is the main thread in the relation between the sound and the image and probably constitutes the nodal point in the cinematic aesthetic of this American artist; so much so that he makes it an identity trait, an obsessive theme of his cinematographic creation. Coming from the Latin os, oris, the term orality allows to treat everything related to the mouth, the point of contact between the interior of the body and the external environment. Orality pertains to a human anatomical mechanism, but it is not limited to sound production - it is not only concerned with speech and the functional aspect of communication. It is also a visual motif represented by its other strategic location: the face (a term also derived from Latin os, oris). There is thus a visual/visible orality and a sound/audible orality. The exploration into orality in David Lynch's work takes the form of an anatomical and an organic journey leading from the mouth to the ear; from visual representation and sound matter to its perception/reception. What is important in the final count is to observe how orality manifests itself and envisages a creative whole which produces an encounter between the performance arts, the visual arts, and the sound material
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Valthersson, Jonas. "David Lynch och fotografiet : The Factory Photographs." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-81313.

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Studiens syfte är att genom semiotisk analysmetod och fototeori, om fotografiet som medium, försöka tolka David Lynchs fotografiska bildspråk i en motivanalys av två fotografier ur The Factory Photographs. Om upplevelsen av dessa fotografier kan förändras genom resonemang hämtade från främst filosoferna Roland Barthes och Susan Sontag. Detta berör teoretiskt begrepp som punctum, men även riktningen surrealism inom konst. Resultatet ska utmynna i alternativa innebörder åt fotografierna vid sidan av dess dokumentära uttryck.
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Leung, Suet-wai Emily, and 梁雪慧. "Postmodernism: a study of films by David Lynch." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B3194999X.

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Foubert, Jean. "David Lynch et le film noir (1986-1997)." Paris 7, 2002. http://www.theses.fr/2002PA070049.

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Cette thèse a pour objet principal d'éclairer le rapport de David Lynch au film noir américain classique et contemporain. Notre analyse porte sur les films "Blue Velvet" (1986), "Twin Peaks : Fire Walk with me" (1992) et "Lost Highway" (1997) ainsi que sur la série télévisée "Twin Peaks" : (1989-91). On y étudie plus particulièrement les stratégies d'appropriation et de subversion des conventions narratives du film noir et on y considère les spécificités et les qualités novatrices du "noir" lynchien. On a ainsi voulu montrer comment, en s'appropriant et en renouvelant le genre hollywoodien du film noir, David Lynch célèbre le potentiel expressif et créatif du cinéma
This dissertation is essentially concerned in exploring the relation of David Lynch to classic and contemporary American film noir. Our analysis bears on the films "Blue Velvet" (1986), "Twin Peaks : Fire Walk With Me" (1992) and "Lost Highway" (1997) as well as on the television series "Twin Peaks" (1989-1991). It focuses on David Lynch's appropriative and subversive strategies of film noir's narratives conventions and it also deals with the specificities and the innovative qualities of his noirs. Our object was to show how, by reappropriating and renewing Hollywood film noir genre, Lynch celebrates the expressive and creative potential in the cinematographic discourse
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Leung, Suet-wai Emily. "Postmodernism : a study of films by David Lynch /." [Hong Kong : University of Hong Kong], 1991. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13054867.

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Roche, David. "L'imagination malsaine : Russell Banks, Raymond Carver, David Cronenberg, Bret Easton Ellis, David Lynch /." Paris : l'Harmattan, 2008. http://catalogue.bnf.fr/ark:/12148/cb412407868.

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Baqué, Zachary. "L'Amérique dans l'œuvre cinématographique et télévisuelle de David Lynch." Toulouse 2, 2006. http://www.theses.fr/2006TOU20056.

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L’œuvre cinématographique et télévisuelle de David Lynch est une incarnation de l’Amérique qui s’inscrit dans la quête des formes artistiques les plus à même de représenter la spécificité du territoire américain. En tant que projection nationale des États-Unis, l’Amérique est le cadre privilégié des fictions du cinéaste. L’américanité de son œuvre s’enracine dans l’espace américain, celui des lieux communs ou spécifiques ainsi que celui de la culture populaire et de l’idéologie. Elle se définit ensuite par une esthétique de la violence fondée à la fois sur une représentation de la dimension charnelle du corps et sur une mise à mal de l’écriture filmique elle-même. Elle se base enfin sur une révélation de son statut de pure construction fantasmatique. Les films de Lynch donnent à voir l’Amérique comme une forme de coexistence entre la banalité du quotidien et la perversion nocturne, sans que l’un ou l’autre de ces mondes parallèles puisse prétendre incarner la vérité de l’Amérique
In the ongoing American search for the artistic forms that would best represent its territory, David Lynch’s œuvre is an incarnation of America. As a national representation of the United-States, America has been the main location of Lynchian fictions since Blue Velvet in 1986. The “americanness” of his works is first defined by a settling of his fictions in the American space, in the geographical sense of the term, that of common and specific places, as well as that of popular culture and ideology. It is then based on an aesthetics of violence, which reveals the carnal dimension of bodies while it undermines the codes of conventional cinematography. Finally, it is grounded in the revelation of its own status as a truly fantasmatic construction. Whether it is for Cinema or for Television, the works of David Lynch represent America as the coexistence of mundane day life with nocturnal perversion. However, none of these parallel worlds embodies the ultimate truth about America
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Mactaggart, Allister. "Surface attraction : hyphological encounters with the films of David Lynch." Thesis, Middlesex University, 2006. http://eprints.mdx.ac.uk/6906/.

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How does one turn a cinematic passion into an academic thesis? This is the question that runs through my work, which is both a labour of love and a series of love letters. Does one, can one, tell the truth about one's love object? Written in solitude about the darkened passions of the cinema, and the commodified reenactment via DVD and video, it seeks to locate this body of work, organized under the signifier David Lynch, within a broader cultural history of film and art, rather than, as so many chronologically based studies have done, to assess the individual films and then collectively to remark upon the auteur's signature. Instead, it seeks to experience again, or anew, the ontological strangeness of film within the saturated market place, and observe how, in this body of work, the normative framework of the North American film industry is disturbed from inside by a practice which explores and critically examines the creative potential of the medium within the constraints of the capitalist mode of production and consumption. Taking Roland Barthes' neologism of the theory of the text as a hyphology as its means of organization, the thesis presents a series of chapters which consider separate concepts or ideas about these films which, although appearing freestanding, come together in the final chapter in this web of engagement with Lynch's cinema and critical theory. In the final analysis, the work reflects upon a range of approaches to its subject to conclude that the solitary, or seemingly isolated, experience of film is itself socially, culturally and politically important and tells us a great deal about contemporary subjectivity.
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Mastrangeli, Milena <1996&gt. "La produzione artistica di David Lynch: tra citazioni e allusioni." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17995.

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Il lavoro di tesi si concentra sulla figura di David Lynch; il noto regista americano, conosciuto a livello internazionale, approda al cinema a seguito di un percorso di studi e pratica artistica, in questo modo si crea un forte dialogo fra la sua arte su tela e quella su pellicola. La produzione di Lynch è composta, come quella di tutti gli artisti contemporanei, da citazioni dirette e allusioni; nel presente elaborato si desidera quindi esporre in primis quelli che sono i temi ricorrenti e caratterizzanti del percorso lynchiano; Si analizzerà quindi il ‘tessuto’ di citazioni alla base della produzione di David Lynch (suddividendo questo sistema di riferimenti in tre macro-categorie: che sono la sfera dell’arte, quella della filosofia e quella del cinema). Tale analisi permette di comprendere più approfonditamente l’opera dell’artista e le modalità dello sviluppo della sua poetica. In secondo luogo si analizzerà il suo percorso artistico e alcune delle sue opere d’arte, con l’appoggio delle conclusioni appena ottenute. Infine si osserverà come David Lynch approdi alla videoart e come in essa permanga un forte connotato pittorico. Fornendo, in conclusione al lavoro, un’appendice con biografia, filmografia e elenco delle mostre a cui l’artista ha partecipato.
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Miranda, Colleir Christian. "La estética de lo abismal en el cine de David Lynch." Tesis, Universidad de Chile, 2010. http://repositorio.uchile.cl/handle/2250/101270.

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l trabajo teórico que se desarrolla a continuación pretende abordar la posibilidad de pensar una estética de lo abismal a partir de la filmografía de David Lynch. Este intento supone que la expresión “estética de lo abismal” no quiere indicar algo así como un sistema reflexivo que tenga una disposición orgánica y sea absolutamente coherente consigo mismo. No es, por decirlo de algún modo, una concepción sobre lo bello, fundamentada desde una estructura doctrinaria. Más bien, lo que se está pensando bajo dichos términos es la idea que, a lo largo de los filmes de este director estadounidense, podemos reconocer una serie de aspectos que se vuelven reiterativos y que son utilizados por él a la hora de componer la imagen de sus películas. Ésta última adquiere un aspecto abismal porque circulan por ella una serie de referencias que no terminan de fundarse en una relación de estricta coherencia narrativa. No pueden explicarse simplemente en base a una sola idea en común, ya sea narrativa, cinematográfica o estética. De cierta manera, nuestra mirada trastabilla, pierde pie, cuando no logra una conexión obvia entre las imágenes, gracias a un sentido que emerja y propicie un vínculo. Entonces, las películas de Lynch implican formas de tratar los recursos cinematográficos que incluyen además una serie de referencias que exceden el ámbito fílmico más tradicional. Por ejemplo, prácticas de producción que tienden a generar, precisamente, relaciones azarosas entre los aspectos que forman parte del contenido. Vemos el asomo de la influencia surrealista en dicha manera de elaborar la imagen, pero no es exactamente un tratamiento surrealista, sino sólo su versión fantasmática.
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Books on the topic "David Lynch"

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Chion, Michel. David Lynch. London: BFI Pub., 1995.

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Jerslev, Anne. David Lynch. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73924-9.

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Bertetto, Paolo. David Lynch. Venezia: Marsilio, 2008.

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Chion, Michel. David Lynch. Paris: Ed. de l'Etoile, 1998.

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Frank, Tanja. David Lynch. London: LCP, 2001.

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Chion, Michel. David Lynch. Paris: Étoile, 1992.

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Kaleta, Kenneth C. David Lynch. New York: Twayne, 1993.

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Lynch, David. David Lynch. Valencia: Sala Parpalló, 1992.

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Payán, Miguel Juan. David Lynch. Madrid: Ediciones JC, 1991.

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(Firm), Paravia, ed. David Lynch. Torino: Paravia scriptorium, 2000.

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Book chapters on the topic "David Lynch"

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Jarvis, Brian. "David Lynch." In The Palgrave Handbook of Contemporary Gothic, 781–97. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33136-8_46.

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Jerslev, Anne. "David Lynch and Time: Textures of Ageing." In David Lynch, 61–99. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73924-9_3.

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Jerslev, Anne. "Introduction." In David Lynch, 1–13. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73924-9_1.

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Jerslev, Anne. "David Lynch and Visual Noise." In David Lynch, 139–74. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73924-9_5.

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Jerslev, Anne. "Conclusion." In David Lynch, 251–67. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73924-9_8.

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Jerslev, Anne. "Lynchian Atmospheres: About and Around The Air Is on Fire (2007): An Installational Exhibition." In David Lynch, 15–59. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73924-9_2.

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Jerslev, Anne. "David Lynch and the Digital." In David Lynch, 101–38. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73924-9_4.

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Jerslev, Anne. "David Lynch and Fear: The Uncanny and the Sublime." In David Lynch, 215–49. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73924-9_7.

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Jerslev, Anne. "David Lynch and the Fragment." In David Lynch, 175–213. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73924-9_6.

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Wissner, Reba. "Sound Design." In David Lynch, 23–57. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003265450-2.

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Conference papers on the topic "David Lynch"

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Wachowiak, Miroslaw, Grazyna Szczepańska, and Klaudia Gontowska. "Non-artistic materials in artistic works by David Lynch: multidisciplinary approach." In Optics for Arts, Architecture, and Archaeology VII, edited by Piotr Targowski, Roger Groves, and Haida Liang. SPIE, 2019. http://dx.doi.org/10.1117/12.2527619.

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Jurković, Irena. "DAVID LYNCH’S MONOLOGUES: DISRUPTION OF NETWORK TELEVISION NORMS." In Proceeding of the Thirteenth International Conference at the Faculty of Foreign Languages, 176–87. Alfa BK University Belgrade, 2024. https://doi.org/10.46793/lld24.176j.

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The paper examines David Lynch’s television series Twin Peaks (1990–1991) and its profound influence on the US television landscape, particularly during the transition to multi-channel broadcasting and the emergence of “Quality TV”. Rather than conforming to the existing aesthetic and production norms associated with prime-time American television, Lynch developed a series that reflected his auteur vision and challenged the perception of television as a commercial medium. Instead of observing Twin Peaks as a singular occurrence, this paper observes the series’ innovative narrative strategies in the context of the rising tensions between artistic vision and commercial demands in the television industry. Drawing on Pierre Bourdieu’s field theory and Amanda Lotz’s discussion of the US television industry’s evolution, the paper explores how Twin Peaks, both in its original run and 2017 revival, mirrored broader shifts in the television landscape while showcasing the potential for auteur-driven experimentation within television. Finally, through an observation of Dale Cooper’s character arc, the paper illustrates the ongoing interaction between artistic innovation and commercial pressures in television, affirming Twin Peaks’ status as a groundbreaking work in television history.
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