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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 sonoreOrality 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 cinémaThis 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’AmériqueIn 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>. "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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Goes, Alan Eduardo dos Santos. "O cinema nos filmes de David Lynch: uma anÃlise sobre a reflexividade e mise en abyme em Mulholland Drive e Inland Empire." Universidade Federal do CearÃ, 2016. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=18659.
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CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel SuperiorEste trabalho se propÃe a analisar os modos de agenciamento do cinema reflexivo proposto pelo artista estadunidense David Lynch, com atenÃÃo maior para as obras Mulholland Drive e Inland Empire. Para isso, serÃo resgatadas discussÃes sobre o dispositivo cinematogrÃfico, desde a proposiÃÃo por Baudry, passando por atualizaÃÃes como as propostas por Metz e noÃÃes mais recentes como as apresentadas por Andrà Parente. As perspectivas sobre o dispositivo sÃo relacionadas com o conceito de mise en abyme; operacionalizado por Andrà Gide, posteriormente desenvolvido por DÃllenbach, e aplicados aos filmes de David Lynch por FÃtima Chinita; bem como os de reflexividade metacinematogrÃfica e reflexividade metafÃlmica, apresentados por Metz. SÃo ainda trabalhadas algumas questÃes que costumam orbitar a filmografia do cineasta e as pesquisas referentes ao tema, sendo estes: a desterritorializaÃÃo das linguagens artÃsticas, os conflitos entre um cinema de gÃnero e um cinema independente e o surrealismo. Estas discussÃes nos ajudam a compreender traÃos secundÃrios de nossa pesquisa que perpassam tanto a trajetÃria do autor quanto os filmes em observaÃÃo. As anÃlises dos filmes sÃo fundamentadas nos percursos apresentados acima e, quando possÃvel, articuladas com pensamentos transdisciplinares que nos possibilitem explorar aspectos especÃficos, principalmente com estudos da cibercultura, das teorias cinematogrÃficas e da psicanÃlise. A relaÃÃo dessas diferentes correntes teÃricas nos munem de artifÃcios para aprofundar instÃncias narrativas, tÃcnicas e estÃticas de Mulholland Drive e Inland Empire. O ordenamento desses aspectos aparentemente fragmentados, na teoria e nas obras do cineasta estadunidense, traduzem-se na prÃpria estrutura do trabalho, com capÃtulos referentes a cada tema e nÃo-cumulativos e sequenciais. Por fim, as operaÃÃes conceituais propostas à anÃlise das imagens em movimento do corpus escolhido nos permitem defender que a reflexividade à um elemento estruturante nos trabalhos do cinema de David Lynch e, de modo geral, em partes do cinema contemporÃneo.
This study aims to analyze the agency modes of reflective films proposed by the north-american artist David Lynch, with greater attention to both movies Mulholland Drive and Inland Empire. Besides, some discussions will be redeemed on cinematic apparatus, since its conceptual proposition by Baudry, through updates as proposed by Metz and some recent notions such as those presented by Andrà Parente. The outlook on the cinematic apparatus are related to the concepts of mise en abyme, operated by Andrà Gide and subsequently developed by DÃllenbach, and applied to the films of David Lynch by the work of Fatima Chinita; and the metacinematographic reflectivity and metafilmic reflectivity, presented by Metz, as well. It will present another issues that orbit the filmography of the director and researches on the topic oftenly, namely: the dispossession of artistic languages, conflicts between a genre cinema and an independent film and the surrealistic art movement. These discussions help us to understand some secondary traits of our research that pervade both the trajectory of the author as the films under our observation. The analyze of both movies are based on the routes listed above and, where possible, articulated with transdisciplinary thoughts that allow us to explore specific aspects, especially with cyberculture, studies of film theory and psychoanalysis. The relationship of these different theoretical perspectives endow the artifices to deepen narrative, technical and aesthetic instances of Mulholland Drive and Inland Empire. The management of those aspects apparently fragmented, in theory and in the works of the north-american filmmaker, are reflected in the structure of this work, with noncumulative and non-sequential chapters for each treated subject. Finally, the conceptual operations proposed to analyze the chosen corpus of moving images allow us to defend that reflectivity is a structural element in the David Lynch film works and, in general, in some parts of contemporary cinema.
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Ferrer, García Marcos Joaquín. "Lo siniestro como condición y límite del MRI. A propósito de David Lynch." Doctoral thesis, Universitat Jaume I, 2017. http://hdl.handle.net/10803/405729.
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La presente tesis doctoral retoma el concepto de lo siniestro esgrimido por Freud para hacer especial hincapié en su angustia e incertidumbre, aspectos que comparte con la resolución precursora de Heidegger. La hipótesis de partida es que lo siniestro quiebra o suspende el MRI, es su límite y condición. Para someter a prueba esta cuestión la segunda parte de la investigación analiza cómo se sugiere el fenómeno en el cine de Hollywood desde algunas de las películas pertenecientes a sus diferentes épocas y géneros. La tercera parte centra su mirada en lo siniestro en el cine de David Lynch hasta alcanzar sus dos últimos largometrajes: Mulholland Drive (2001) e Inland Empire (2006). En ellos lo siniestro surge en toda su radicalidad a partir de la deconstrucción del modo de representación hegemónico que tiene lugar en el seno de su propia materia fílmica.This Doctoral thesis examines Freud’s concept of the uncanny and highlights the anguish and uncertainty it evokes. Both these features are already present in Heidegger’s precursory resolution. The initial hypothesis is that the uncanny breaks or suspends the Institutional Modes of Representation (IMR), and represents its limit and condition. To test this idea, the second part of this research analyses how this phenomenon is suggested in Hollywood productions by studying case study films from different times and genres. The third part focuses on how the uncanny is portrayed in David Lynch’s work, up until his two most recent films: Mulholland Drive (2001) and Inland Empire (2006). In them, the uncanny is laid radically bare by deconstructing the hegemonic mode of representation within the film itself.
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Jones, Adam Daniel. "Between self and other : abjection and unheimlichkeit in the films of David Lynch." Thesis, University of Newcastle Upon Tyne, 2011. http://hdl.handle.net/10443/1230.
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This thesis re-evaluates David Lynch’s films and their critical reception, with particular reference to psychological models employed in the context of ‘Lynchian’ themes such as identity, the self, the material, doubling and ambiguity, In repositioning readings and arguing for a new approach, I identify the flaws in the critical reception and , proceeding form the contention that the reception of the films suggests complex and specific psychological responses, explore possible origins with reference to two principal and associated theories. The five films selected as subjects are Eraserhead, Blue Velvet, Twin Peaks: Fire Walk With Me, Lost Highway and Mulholland Drive. The uncanny, or more specifically Unheimlichkeit (as described by Jensch, Rank, Freud et al) is encapsulated as ‘something which ought to have remained hidden but has come to light’ and encompasses a cluster of associations, e.g. doubles and doppelgangers, repression, ambiguous humanity, madness, amputation, the womb and the domestic. Distinct but closely related, the abject (as described by Kristeva), describes visual and physical elements associated with the uncanny but is often less nuanced and more extreme, engendering revulsion, loathing and ultimately a jouissance epitomised by the act of self effacement or the destruction of the self that often concludes an inevitable, heightening and terminal process of uncanniness. I argue that the symbiotic relationship between the uncanny and abject (the concepts coexist and each is implicated in the action of the other) pervades Lynch’s films and test the hypothesis that the balance between them shifts throughout the course of his career, identifying a trajectory characterised by an early predominance of visually disturbing objects through to a more pronounced and complex preoccupation with the uncanny in the late films. I will relate this exploration of the relationship between the uncanny and abject to questions of reception, examining how it problematises readings.
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Carusi, Rahna M. "Imagining Woman Otherwise, or Nothing: Sexuation as Discourse in Lacanian Thought." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/english_diss/99.
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My dissertation looks at the connections between Lacan’s four discourses and the sexuation graph in order to claim that sexuation is discursive and that, as Lacan presents it with the phallus as its quilting point, the sexuation graph is a narrative based on patriarchal hegemony, which is one of many possible narratives. I argue that through the hysteric’s discourse and a removal of the phallus as the Symbolic-Imaginary quilting point, we can begin to formulate new narratives of sexuated subjectivities. The textual objects I use for this project are literary and filmic works where women are the central topic or figure, and the works are all created and developed by men. Following Kristeva’s focus on the semiotic, in particular men’s avant-garde writing, I choose these works as illustrations of the ways in which the depiction of women has shifted in the wake of at least half a century of feminist and queer scholarship and activism. Grounded in Lacan’s claim that “Woman does not exist,” I explicate Woman as metaphor as an Imaginary construction of masculinist logic in order to develop a theory of Woman as metonymy that collapses the oppressive, Imaginary constructions and proliferations of Woman. Finally, I read closely Lacan’s sexuation graph, specifically turning it sideways and replacing the phallus with the general, empty master signifier to show the ways in which we can construct new meanings of subjectivity.
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Beckman, Frida. "Reconfiguring subjectivity : experimental narrative and Deleuzean immanence /." Uppsala : Department of English, Uppsala University, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-107273.
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Achemchame, Julien. "Entre l'œil et la réalité : le lieu du cinéma : "Mulholland Drive" de David Lynch." Montpellier 3, 2008. http://www.theses.fr/2008MON30094.
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Avec « Mulholland Drive » (2001), l’œuvre du cinéaste américain David Lynch prend un tournant radical. Métafilm hollywoodien né sur les ruines d’un pilote de série télévisée, « Mulholland Drive » déroute par sa structure narrative singulière, son aspect hétérogène. Dans un premier temps, en favorisant de multiples figures du contraste (autant au niveau formel que thématique), David Lynch cherche à offrir au spectateur une expérience cinématographique singulière, dans laquelle les sensations et les émotions nées de la rencontre des sons et des images jouent un rôle essentiel. Dans un deuxième temps, en s’inscrivant dans la tradition hollywoodienne du métafilm, David Lynch s’interroge sur l’histoire du cinéma et sur les fondements de l’image cinématographique, notamment à l’époque contemporaine qui voit l’émergence de nouvelles formes audio-visuelles grâce au numérique. Oscillant entre cinéma de genre (film noir, thriller, fantastique) et cinéma d’auteurs européens (Bergman, Godard), « Mulholland Drive » se souvient d’images passées de cinéma et cela afin de mieux projeter le cinématographe vers son devenir…“Mulholland Drive” (2001) is a major turning point in David Lynch’s cinematographic career. This Hollywood metafilm, created from the remains of an unaired television series, disorients its audience by its heterogeneous aspect and narrative structure. On one hand, Lynch uses multiple forms of contrast (thematically and pictorially) to offer the spectator a singular experience of cinema, in which sensations and emotions play the major part. On the other hand, in following the tradition of Hollywood metafilms, David Lynch wonders about the history of cinema and the essence of cinematographic images in our contemporary society, in which new forms of images are being created with digital cameras. Between genres (film noir, thriller, fantastic) and European film (Bergman, Godard), “Mulholland Drive” remembers ancient cinematographic images and tries to anticipate the metamorphosis of cinema…
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Ferraraz, Rogerio. "O veludo selvagem de David Lynch : a estetica contemporanea do surrealismo no cinema ou o cinema neo-surrealista." [s.n.], 1998. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284304.
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Orientador: Ivan Santo BarbosaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-07-24T06:43:30Z (GMT). No. of bitstreams: 1 Ferraraz_Rogerio_M.pdf: 4672512 bytes, checksum: 315ba08c8c143b04c6d24fd4e0ebfedd (MD5) Previous issue date: 1998
Resumo: Esta dissertação tem como finalidade demonstrar que o cineasta norte-americano David Lynch renova as características do surrealismo em seus filmes, realizando uma espécie de cinema neo-surrealista, como denominamos aqui. Para comprovar essa hipótese, realizamos, numa primeira etapa o levantamento dos dados biográficos e bibliográficos de e sobre Lynch, bem como a pesquisa se sua obra incluindo-se aqui seus trabalhos para o cinema, para a televisão, além de suas fotografias e pinturas. Concomitante, desenvolvemos o estudo do Surrealismo e de filmes realizados nas décadas de 20 e de 30, época inaugural do movimento, e que, reconhecidamente, traduziram os preceitos da arte e da estética surrealista no cinema. Dentre os vários artistas e filmes pesquisados fixamos nossas observações no conjunto da obra de Luis Buñuel, desde 1928 até 1977, respectivamente os anos do primeiro e do último filme do cineasta espanhol. Numa segunda etapa, realizamos a análise de alguns filmes, especialmente Veludo azul, de David Lynch, e Um cão andaluz, de Luis Buñuel e Salvador Dali, buscando identificar quais características do cinema surrealista são apropriadas e atualizados por Lynch, tendo em mente que sue cinema estabelece novas significações e novos paradigmas em relação à estética surrealista
Abstract: Not informed.
Mestrado
Mestre em Multimeios
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Geldenhuys, Emile Leonard. "The spectator as transtextual detective in the metaphysical detective films of David Lynch / E.L. Geldenhuys." Thesis, North-West University, 2013. http://hdl.handle.net/10394/9657.
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The filmic oeuvre of auteur director David Lynch has a reputation among average spectators as being too “difficult” to understand. In particular, the Lynch films Lost Highway and Mulholland Drive are considered by the average spectator to be devoid of any real meaning. Spectator theory provides insight into the structures through which spectators find or fail to find meaning in films. Spectator theory explains that the average spectator has a set of schemas for “reading” and understanding film, and that these schemas are shaped by the conventions of popular Hollywood cinema. The films of David Lynch do not adhere to these conventions, and thus challenge the average spectator’s competency with regard to their ability to emplot a coherent and meaningful narrative from these films. In the case of Lost Highway and Mulholland Drive, the films present the spectator with multiple mysteries, yet never provide any solutions to these mysteries. If a spectator is to find meaning in Lost Highway and Mulholland Drive, then such a spectator needs an appropriate schema for interpreting these films. This dissertation aims to develop one possible schema which can be used to find meaning in Lost Highway and Mulholland Drive. To this end, the films Lost Highway and Mulholland Drive are shown to qualify as metaphysical detective films, a genre of narrative which playfully interprets the conventions of classical detective narrative. Under the neologism “transtextual detective” this dissertation traces the characteristics of a spectator who would assume the role of a detective figure, existing outside of the borders of the film text, and calling upon a diverse collection of texts and schemata to solve the mysteries identifiable in these metaphysical detective films. In order to test the applicability of the schema of the transtextual detective, the writer undertakes a demonstration of an investigation into the films Lost Highway and Mulholland Drive while assuming the role of a transtextual detective. The writer firstly indentifies the mystery of identity as a salient mystery in both films, before demonstrating how solutions to this mystery can be found in Lost Highway.Thesis (MA (English))--North-West University, Potchefstroom Campus, 2013.
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Adamis, A. "Liquid concepts : liquid architecture, the philosophy of Gilles Deleuze and the films of David Lynch." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1411343/.
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The thesis explores the nature and impact of liquid concepts with a particular focus on liquid architecture, dually interpreted through the thinking of Gilles Deleuze and the cinematic works of David Lynch. The text begins with a consideration of how architecture was until recently expected to be stable and solid. Following this, it introduces liquid concepts and what can be understood by this term, before discussing the stimuli that led to the expression of liquid thinking through liquid architecture. An introduction to the thinking of Gilles Deleuze and Felix Guattari follows, with a selective focus placed on ideas of relevance to liquid concepts. The central part of the text discusses liquid architecture, mentioning several key figures within the movement, including Lars Spuybroek, Kas Oosterhuis and Marcos Novak. This is followed by the presentation of several projects, both those of other architects and the projects forming part of this design thesis. The latter section is concerned with the definition of cinematic space and its function, and the work of David Lynch. It considers connections between Lynch and liquid concepts, and presents relevant themes and tools that feature prominently in his films. The final part of the thesis is dedicated to a discussion of the Liquid House design project, exploring the influences on the design process of the various strands considered in this thesis, and in particular of the work of Deleuze and of Lynch, ultimately affirming that the project is liquid in its design approach. The text concludes that while liquid architecture is mostly concerned with matters relating to design, liquid concepts are about ways of thinking, and further, the current expressions of liquid architecture are not the full extent of the developments in architecture, which may be expected to become even more liquid.
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Todd, Antony. "Auteurism and the reception of David Lynch : reading the author in post-classical American art cinema." Thesis, University of Southampton, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416901.
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Arnaud, Diane. "Figures d'enfermement dans les oeuvres de David Lynch et d'Alexandre Sokourov : perspectives esthétiques du cinéma contemporain." Paris 3, 2003. http://www.theses.fr/2003PA030141.
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L'enfermement tisse des liens privilégiés avec l'espace au cinéma : délimitation de l'image par le cadre de l'écran, captivité du spectateur dans la salle obscure. Cette fermeture spatiale fixée d'avance connaît une acceptation mouvante face aux images-sons cinématographiques. La recherche met en lumière un enfermement potentiel entre le film et son spectateur de manière à reconfigurer les différents espaces de la représentation. Les " films mystère " de David Lynch et les " essais " filmiques d'Alexandre Sokourov sont rapprochés selon un cheminement analytique : scénographie filmique d'enfermement, exploration des lieux du dedans, encadrement pictural. L'esthétique spatiale envisagée implique la participation fantasmatique du destinataire de l'œuvre à la clôture de la représentation. Les cas limites étudiés (Kiarostami, Hsiao-hsien, Von Trier) proposent une mise en perspective historique du cinéma contemporain en réfléchissant sur la construction spatiale des mondes diégétiques closThe process of confinement is bound to the notion of space in cinema : take the limitation of the image by the screen, or the fact that the spectator is held captive within the movie theaters. My aim is to show that this given confinement is in fact challenged by the moving picture itself. This research brings to light the potential of this confinement produced by the film on the spectator so that the spatial dimensions of the representation can be transfigured. Mystery films by David Lynch and cinematic essays by Alexander Sokurov are paralleled according to the following analytic progression : the scenography of confinement, the exploration of what lies within closed spaces, and the pictorial framing. Such spatial aesthetics entails the fantastical participation of the audience once the enclosure materialises. The study of borderline cases (Kiarostami, Hsiao-hsien, Von Trier) offers an historical perspective whilst reflecting on the spatial construction of closed diegetic worlds
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Góes, Alan Eduardo dos Santos. "O cinema nos filmes de David Lynch: uma análise sobre a reflexividade e mise en abyme em Mulholland Drive e Inland Empire." reponame:Repositório Institucional da UFC, 2016. http://www.repositorio.ufc.br/handle/riufc/21925.
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GÓES , Alan Eduardo dos Santos. O cinema nos filmes de David Lynch: uma análise sobre a reflexividade e mise en abyme em Mulholland Drive e Inland Empire. 2016. 154f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-Graduação em Comunicação, Fortaleza (CE), 2016.Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-02-08T14:13:59Z No. of bitstreams: 1 2016_dis_aesgoes.pdf: 13267754 bytes, checksum: e316ec7dca161b11554b762c35da5509 (MD5)
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This study aims to analyze the agency modes of reflective films proposed by the north-american artist David Lynch, with greater attention to both movies Mulholland Drive and Inland Empire. Besides, some discussions will be redeemed on cinematic apparatus, since its conceptual proposition by Baudry, through updates as proposed by Metz and some recent notions such as those presented by André Parente. The outlook on the cinematic apparatus are related to the concepts of mise en abyme, operated by André Gide and subsequently developed by Dällenbach, and applied to the films of David Lynch by the work of Fatima Chinita; and the metacinematographic reflectivity and metafilmic reflectivity, presented by Metz, as well. It will present another issues that orbit the filmography of the director and researches on the topic oftenly, namely: the dispossession of artistic languages, conflicts between a genre cinema and an independent film and the surrealistic art movement. These discussions help us to understand some secondary traits of our research that pervade both the trajectory of the author as the films under our observation. The analyze of both movies are based on the routes listed above and, where possible, articulated with transdisciplinary thoughts that allow us to explore specific aspects, especially with cyberculture, studies of film theory and psychoanalysis. The relationship of these different theoretical perspectives endow the artifices to deepen narrative, technical and aesthetic instances of Mulholland Drive and Inland Empire. The management of those aspects apparently fragmented, in theory and in the works of the north-american filmmaker, are reflected in the structure of this work, with noncumulative and non-sequential chapters for each treated subject. Finally, the conceptual operations proposed to analyze the chosen corpus of moving images allow us to defend that reflectivity is a structural element in the David Lynch film works and, in general, in some parts of contemporary cinema.
Este trabalho se propõe a analisar os modos de agenciamento do cinema reflexivo proposto pelo artista estadunidense David Lynch, com atenção maior para as obras Mulholland Drive e Inland Empire. Para isso, serão resgatadas discussões sobre o dispositivo cinematográfico, desde a proposição por Baudry, passando por atualizações como as propostas por Metz e noções mais recentes como as apresentadas por André Parente. As perspectivas sobre o dispositivo são relacionadas com o conceito de mise en abyme; operacionalizado por André Gide, posteriormente desenvolvido por Dällenbach, e aplicados aos filmes de David Lynch por Fátima Chinita; bem como os de reflexividade metacinematográfica e reflexividade metafílmica, apresentados por Metz. São ainda trabalhadas algumas questões que costumam orbitar a filmografia do cineasta e as pesquisas referentes ao tema, sendo estes: a desterritorialização das linguagens artísticas, os conflitos entre um cinema de gênero e um cinema independente e o surrealismo. Estas discussões nos ajudam a compreender traços secundários de nossa pesquisa que perpassam tanto a trajetória do autor quanto os filmes em observação. As análises dos filmes são fundamentadas nos percursos apresentados acima e, quando possível, articuladas com pensamentos transdisciplinares que nos possibilitem explorar aspectos específicos, principalmente com estudos da cibercultura, das teorias cinematográficas e da psicanálise. A relação dessas diferentes correntes teóricas nos munem de artifícios para aprofundar instâncias narrativas, técnicas e estéticas de Mulholland Drive e Inland Empire. O ordenamento desses aspectos aparentemente fragmentados, na teoria e nas obras do cineasta estadunidense, traduzem-se na própria estrutura do trabalho, com capítulos referentes a cada tema e não-cumulativos e sequenciais. Por fim, as operações conceituais propostas à análise das imagens em movimento do corpus escolhido nos permitem defender que a reflexividade é um elemento estruturante nos trabalhos do cinema de David Lynch e, de modo geral, em partes do cinema contemporâneo.
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SOUZA, Fabiano Pereira de. "Alan Splet: o sound design de veludo azul e a polifonia de efeitos sonoros." Universidade Anhembi Morumbi, 2016. http://sitios.anhembi.br/tedesimplificado/handle/TEDE/1663.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The work of sound designer Alan Splet (1939-1994) and the importance of the sound effect editing studied through the analysis of the film Blue velvet (USA, 1986), directed by David Lynch. The project aim is to research what characterized Splet’s work with sound effects, if it represented innovation in film language and, if so, how it compared to previous films that had also presented sound effect superposition. Another goal is to verify the applicability of the concepts of polyphony and counterpoint to the sound construction of the film.
A obra do sound designer Alan Splet (1939-1994) e a importância da edição de efeitos sonoros estudadas através da análise do filme Veludo azul (Blue velvet, EUA, 1986), dirigido por David Lynch. O intuito do projeto é pesquisar o que caracterizava o trabalho com efeitos sonoros de Splet, se ele representou inovação em termos de linguagem cinematográfica e, em caso afirmativo, como isso se deu em comparação a obras anteriores que também tenham apresentado sobreposição de efeitos sonoros. Outro objetivo é verificar ainda a aplicabilidade dos conceitos de polifonia e contraponto em relação às construções sonoras do filme.
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Finley, Ethan Andrew. "In Dreams: A Freudian Analysis of David Lynch’s Mulholland Dr. and Lost Highway." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1385495386.
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Steinmetz, Thomas. "Fictions de la connaissance, connaissance de la fiction : aspects du Néofantastique de J.-L. Borges à David Lynch." Paris 7, 2008. http://www.theses.fr/2008PA070046.
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La présente étude aborde et remet en contexte les importantes transformations qu'a connues la fiction fantastique au cours du XXe siècle, ainsi que l'évolution du regard porté par la critique sur le genre fantastique à l'époque contemporaine. Le fantastique canonique, dont la forme s'élabore tout au long du XIXe siècle, est avant tout destiné à faire peur en confrontant, dans le récit, le surnaturel à une certaine idée du réel. Or ce modèle éclate au Xxe siècle. Dès la fin des années 1930, le fantastique renouvelle largement ses thèmes et ses techniques narratives ; le "néofantastique", dont le foyer principal est l'Amérique latine, en est un exemple éclatant. Le genre est ainsi en grande partie redéfini : la peur est y parfois supplantée par la fantaisie, la provocation ludique du lecteur, le trouble, ou même par une forme de romanesque très intellectualisé - comme dans les contes métaphysiques de Borges. La dimension artificielle du récit, la virtuosité du conteur sont plus volontiers exhibées, dans des dispositifs métaleptiques ou autoréférentiels parfois complexes. Cette transformation est donc largement marquée par l'intellectualisation du genre : le surnaturel tend, bien souvent, à s'intérioriser, le conte devient une aventure de la conscience. L'effet fantastique n'estalors plus obtenu par la mise en scène d'événements troublants, mais, de façon médiate, à travers une conception du réel. C'est pourquoi le néofantastique est ici abordé à travers le prisme de cette notion de connaissance : représentations innombrables du savoir, mise en scène d'autres formes de connaissance insoupçonnées, exceptionnelles (révélation, omniscience. . . ). This study is about fantasy’s major transformation in the XXth century. In the course of XIXth century. A main form of fantasy fiction developped. Which aim was to give rise to fear in the lector's mind, by confronting supernatural events to a representation of reality. In the XXth century, new types of fantasy fiction appear, and since the end of the 1930s, themes and narrative techniques were largely renewed. Latin-american "neofantasy fiction is a striking example of this renewal. This transformation is characterized by the intellectualization of the genre ; the supernatural part of the story tends to be internalized, many tales relate an adventure of the mind. In this case, fantasy fiction is not about strange or impossible events: it is about aconception of realitv
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Delage, de Luget Marion. "Du monstre dans l’œuvre intermédiale de David Lynch : ou comment les arts peuvent déborder le cadre formel de l’identité." Paris 8, 2012. http://www.theses.fr/2012PA083543.
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L’Œuvre de Lynch, intermédiale, déconstruit les canons. Elle dit ce monstre dont l’organisation formelle ne respecte pas l’économie symbolique : celui qui s’émancipe du mythe de l’archétype, sur lequel reposent les constructions identitaires. Quels mécanismes produisent le genre, l’archétype (Aristote), et conséquemment l’exception ? Quels appareils sont élaborés pour générer ces représentations itératives (J. -L. Déotte) ? Un modèle édicte toujours corrections et disqualifications (Derrida) ; en contre, Lynch propose une utilisation irrévérente des notions d’anomalie, de défaut. Des partitions arbitraires distinguent le tabou du sacré (M. Douglas). Interrogeons ces limites, qui attestent d’une totalité en en garantissant l’homogénéité : le cadre – structure prédicative –, pour dénoncer son caractère fabriqué. Critiquons la complétude que suppose le Beau : Lynch y oppose une dislocation des corps, générant cet ensemble, non plus unité insécable et exclusive, mais réseau d’enchaînements. Et envisageons des stratégies déjouant la reproduction du même. Contre l’invariant de la summetria, la négentropie (R. Caillois). Contre ces hiérarchies distinguant bonnes et mauvaises formes, les solutions critiques du bas matérialisme (G. Bataille), de la performativité (J. Butler), de l’informe (Y. -A. Bois, R. Krauss). Lynch moque ce standard qui conduit à la perte de toute identité, insistant : viabilité et reproductibilité ne sont pas indissociablement couplées. Ceci pour une définition du monstre en art, fécond, métastable, en progrès (Lyotard) : une opération proposant une re-signification des normes établies – la bonne forme de l’individu, de l’œuvre, et l’idéal des pratiquesThe intermedial Work of Lynch deconstructs canons: it says this monster, formal organization which does not respect the symbolic economy, the one who becomes emancipated of this myth of the archetype, on which identical constructions are based. Which mechanisms produce the genre, the archetype (Aristotle), and consistently the exception? Which devices are elaborated to generate these iterative representations (J. -L. Déotte)? A model always promulgates corrections and disqualifications ( Derrida); against it, Lynch proposes an irreverent use of the notions of anomaly and defect. Arbitrary partitions distinguish the taboo and the sacred (M. Douglas). Let us question these limits which attest to a totality by protecting its homogeneity: the frame, predicative structure, to denounce its artificiality. Let us criticize the comprehensiveness that Beauty supposes: Lynch put dislocation of bodies forward against it, generating this set, not an indivisible and exclusive unity, but network of linkings. And let us envisage strategies thwarting the reproduction of the same. Against the invariant of the summetria, the négentropie (R. Caillois). Against these hierarchies distinguishing good and bad forms, the critical solutions of bas matérialisme (G. Bataille), performativity (J. Butler), informe (Y. -A. Bois, R. Krauss). Lynch parodies this standard which leads to the loss of identity, insisting: viability and reproducibility are not indossociably coupled. This for a definition of the monster in art, fertile, métastable, in progress ( Lyotard): an operation proposing a re-meaning of the established standards - the good shape of the individual, of the work, and the ideal of the practices
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Komorowska, Katarzyna. "Dreamland Paranoias: Californian Quests for Feminist Order in Thomas Pynchon’s and David Lynch’s Works." Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/671078.
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This thesis examines paranoid perception as a tool for the emancipation of women in Thomas Pynchon’s The Crying of Lot 49 and David Lynch’s Mulholland Drive. Both the novel and the film are set in a California which creates favorable conditions for the development of various obsessions and conspiracy theories. These do not have a negative effect, however. Rather, they allow the female protagonists to “project a world” of their own, detached from the patriarchal narratives created to govern their lives and restrict their freedoms.
Paranoia as a mode of thinking, employed both as a means of self-protection against the unbearable notion of chaos governing peoples’ lives, and as an instrument of control by the authorities and an assortment of powerful institutions and organizations, is one of the most important, controlling themes in the works of Pynchon and Lynch. Hence, the opening of the thesis includes a brief description of its clinical manifestations, before delving into an analysis of cultural paranoia throughout US history and politics and then through relevant instances of American literature and art.
What follows is an overview of the entire body of Pynchon’s and Lynch’s work, with a focus on the theme of paranoia as well as on the significance of California as a setting for each creator. The description of the dual nature of the Golden State —both bright and full of
promise and dark and deceitful— is dealt with in both their “California trilogies” —comprised of The Crying of Lot 49, Vineland and Inherent Vice in the case of Pynchon and of Lost Highway, Mulholland Drive and Inland Empire in the case of Lynch. Lynch’s and Pynchon’s characters deal with such duality by adopting paranoid perception, which does not improve their lives significantly, but definitely affords them greater freedom. The mentioned trilogies are read through the lens of Jean Baudrillard’s concept of hyperreality —which the prominent sociologist puts forward in works such as Simulacra and Simulation or America— hypothesized to be one of the main factors contributing to the rise of paranoid perception in the US.
In order to provide a context for the detailed analysis of female paranoia in The Crying of Lot 49 and Mulholland Drive the relevant chapters include an outline of the most important aspects of the second, third, and fourth wave of feminism in the US, with focus on the most influential literature, such as Betty Friedan’s The Feminine Mystique (1963) or Rebecca Walker’s To Be Real: Telling the Truth and Changing the Face of Feminism (1995). These chapters also contain an analysis of Pynchon’s and Lynch’s works in the feminist context and of the significance of the California setting for their female protagonists’ —Oedipa Maas and Diane Selwyn/Betty Elms— paranoid quests for empowerment.
In light of this background information, the thesis examines the protagonists’ path towards liberation from the patriarchal order in their respective time periods. Oedipa’s drive towards it results in a gradual deconstruction of her identity as a conventional woman, in self- discovery that leads to greater agency but also possibly ends in a greater level of distress. Diane Selwyn on the other hand, a victim of sexual discrimination and abuse in Hollywood, employs paranoia as a defense mechanism helping her survive the hardships she has to endure and dismantle the Californian illusion of success by means of creating a fantasy of her own.
This thesis, in short, compares Pynchon’s presentation of a woman’s path to finding her identity in a “man’s world,” with the aid of paranoid perception, with Lynch’s pessimistic
vision of a woman’s near failure to do so more than three decades later.Esta tesis analiza la percepción paranoica como herramienta para la emancipación de las mujeres en La subasta del lote 49 de Thomas Pynchon y Mulholland Drive de David Lynch. La novela y la película se desarrollan en California, escenario que crea condiciones específicas y favorables para el desarrollo de varias obsesiones y teorías de la conspiración. Sin embargo, en estos autores, la paranoia no tiene necesariamente una connotación negativa, sino que, más bien, permite a las protagonistas femeninas “proyectar un mundo” propio, desconectado de las narrativas patriarcales creadas para gobernar sus vidas y limitar sus libertades. Estos autores presentan, pues, la paranoia como un modo de pensar y la utilizan como un medio de autoprotección contra la insoportable idea del caos que reina sobre las vidas de sus protagonistas y también como una herramienta de control por parte de las autoridades y las instituciones que ostentan poder. Por lo tanto, esta tesis incluye una descripción de la paranoia cultural a través de la historia y política de los EE.UU. y a través de la literatura y el arte, especialmente de la época posmoderna. A esta contextualización le sigue el análisis en profundidad de la obra completa de Pynchon y Lynch, con el foco en su uso narrativo de la paranoia así como en el significado de California como escenario de sus “trilogías californianas”: La subasta del lote 49, Vineland y Vicio propio de Pynchon y Carretera perdida, Mulholland Drive e Inland Empire de Lynch. Los dos últimos capítulos de la tesis están dedicados ya específicamente a La subasta del lote 49 y Mulholland Drive y al análisis de la busca paranoica de la emancipación de sus protagonistas mujer —Oedipa Maas y Betty Elms/Diane Selwyn. Estos capítulos incluyen también una descripción de la segunda, tercera y cuarta ola del feminismo en los EE.UU., que enmarcan el desarrollo de estos personajes. La tesis cierra con una comparación de las dos maneras de presentar el paranoico camino a la emancipación de las mujeres americanas en las dos obras.
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Picart, Hellec Briac. "Τwin Ρeaks, au cοeur de la révοlutiοn sérielle : créatiοn et influence." Electronic Thesis or Diss., Normandie, 2024. http://www.theses.fr/2024NORMLH27.
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Twin Peaks (ABC, 1990-1991), créée par le scénariste Mark Frost et le cinéaste David Lynch, est souvent considérée comme la matrice des séries états-uniennes contemporaines. Au sein des discours sur les séries télévisées, l’importance de Twin Peaks semble si évidente qu’elle peut souvent se passer de démonstration précise et argumentée : que ce soit dans la presse ou dans les travaux universitaires, la série n’est que très rarement inscrite dans une histoire des formes des séries, qui permettrait de saisir véritablement l’empreinte démesurée qu’on lui prête. À travers une approche intertextuelle du phénomène de l’influence, cette thèse se propose d’interroger le caractère novateur de Twin Peaks : il s’agit de tracer le parcours de ses propositions formelles, au gré de leurs transformations, afin de déterminer s’il existe véritablement un « avant » et un « après » Twin Peaks. Ce travail s’intéresse notamment à la troisième saison tardive de Twin Peaks, The Return (Showtime, 2017), et à la manière dont elle se positionne par rapport à l’influence des deux premières saisons. Par la conjonction d’analyses narratologiques, génétiques et herméneutiques, il s’agit de mettre au jour la singularité de l’héritage de Twin PeaksTwin Peaks (ABC, 1990-1991), created by screenwriter Mark Frost and filmmaker David Lynch, is often considered to be the matrix of contemporary US television series. Within the discourses on television series, the importance of Twin Peaks seems so obvious that it can often do without a precise, well-argued demonstration: whether in the press or in academic works, the series is only very rarely contextualized within a history of the forms of series, which would allow us to truly grasp the disproportionate imprint that is attributed to it. Using an intertextual approach to the phenomenon of influence, this dissertation sets out to examine the innovative nature of Twin Peaks, tracing the trajectory of its formal proposals as they have been progressively transformed, in order to determine whether there really is a ‘before’ and an ‘after’ Twin Peaks. This study focuses in particular on the third season of Twin Peaks, The Return (Showtime, 2017), and the way in which it positions itself in relation to the influence of the first two seasons. Through a combination of narratological, genetic, and hermeneutic analyses, the aim is to uncover the singularity of Twin Peaks’ legacy
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VIVILLE, ISABELLE. "La figuration du monstre dans la litterature et a l'ecran de "vampyr" de carl dreyer a "elephant-man" de david lynch." Université Marc Bloch (Strasbourg) (1971-2008), 1986. http://www.theses.fr/1986STR20032.
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Dracula, frankenstein, elephant-man. . . Ces creatures n'ont jamais cesse de nous faire rever. Figures monstrueuses qui provoquent la peur ou le rire, elles sont neanmoins tres proches de nous, par leur apparence humaine. Notre imaginaire les a dotees de pouvoirs extraordinaires, mais surtout leur a assure la perennite et l'universalite. En effet, dans les mythes ainsi qu'a travers les formes les plus actuelles d'expression, les memes figures apparaissent et s'imposent a nous comme autant d'enigmes qui demandent a etre dechiffrees. Conscients de cette importance, nous avons essaye de decouvrir, au-dela des simples caricatures de l'horreur, la veritable signification de ces etres etranges. De joseph sheridan le fanu a bram stoker, mary shelley ou richard matheson, le fantastique des xixe et xxe siecles a fourni des archetypes fondamentaux que nous nous proposons d'etudier dans une perspective comparatiste (litterature cinema). Grace a ces creatures hideuses et repoussantes qui nous servent de guide, nous suivons un veritable parcours initiatique. Partis du vampire, issu des profondeurs de l'enfer pour menacer notre fragile existence et du docteur frankenstein, figure legendaire de la science fiction, pour aboutir aux "freaks" de tod browning ou a joseph merrick, l'"homme-elephant", nous constatons que, malgre leurs differences, les monstres sont porteurs d'un meme message. Rejetes parce que leur image ne correspond pas aux criteres et aux valeurs sur lesquels se fonde notre bonne conscience, dotes d'un pouvoir profondement subversif, ils bouleversent de facon radicale les notions de norme et de monstruosite, et nous amenent a une reflexion sur notre identite et notre integrite. Car la contemplation de ces miroirs deformes nous renvoie non a l'image du chaos, mais, au contraire, a celle de notre unite primordialeDracula, frankenstein, elephant-man. . . Creatures who have never ceased to make us dream. They are monstrous characters who cause fear or laughter, but who are nevertheless, with their human appearance, very close to us. Our imagination has given them extraordinary powers, but above all has guaranteed their perennity and their universality. In fact, the same characters appear in old myths as well as in the most recent forms of expression, and weigh down on us like enigmas which demand to be decriphered. Being aware of these important factors we have tried to discover, beyond the simple caricatures of horror, the true meaning of these strange beings. From joseph sheridan the fanu to bram stoker, mary shelley or richard matheson, the imaginary of the 19th and 20th centuries has produced some fondamental archetypes that we are intending to study from a comparatist perspective (literature cinema). Guided by these hideous and repulsive creatures we follow a course of initiation. Starting with vampires, who come from the depths of hell to threaten our fragile existence and with doctor frankenstein, a legendary character of science-fiction, we reach the "freaks" of tod browning or joseph merrick, the elephant-man, to realize that in spite of their differences, all these monsters carry the same message. Rejected because their image does not fit within the criteria and the sets of values which govern our conscience and invested with a profoundly subversive power, they upset radically our notions of normality and monstrosity and lead us to a reflexion upon our identity and our integrity : for our gazing in these deformed mirrors doesn't reflect an image of chaos but of our primordial unity
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Karlsson, Maria. "Den Avvikande Individen: Identitet och Samspel : En analys av The Elephant Man och Mask." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-21346.
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Många individer är inte accepterade i samhället på grund av att de avviker. Detta är ett stort problem då de riskerar utanförskap och sämre livskvalitet. Vad jag därmed kommer att studera i denna uppsats är hur avvikande individer bemöts i samhället och hur de svarar på detta bemötande. De filmer som jag kommer att utgå ifrån i analysen är The Elephant Man (1980) av David Lynch och Mask (1985) av Peter Bogdanovich. Jag kommer sedan att använda mig av socialpsykologin som teori för att kunna analysera hur och varför detta sker. Då jag tolkar de scener jag valt ut kommer jag att använda mig av Hermeneutiken som vetenskaplig metod. I mitt arbete har jag kommit fram till att den avvikande individen bemöts olika i samhället beroende på de människor som bor där och vilken tid filmen skildrar. Vissa människor väljer att se individen utifrån kognitivt igenkännande, andra väljer genom socialt igenkännande. De kan se på den avvikande individen vara genom rädsla men också genom sympati, altruism. Dessa baseras i sin tur på de sociala normer som skapas i de samhällsgrupper som existerar. Den avvikande individens jag-identitet kan därmed påverkas negativt av andra människors handlingar. De väljer att svara på detta på olika sätt, antingen genom att försöka dölja sig, eller genom att stå emot och kämpa. De intar dock roller eller mimicry för att passa in.
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Pita, César. "CineScrúpulos (Año 1. Número 1. Diciembre de 2012)." Universidad Peruana de Ciencias Aplicadas (UPC), 2012. http://hdl.handle.net/10757/625040.
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CineScrúpulos es una revista digital que recopila los trabajos desarrollados por los alumnos en la clase de Historia del Cine de la Facultad de Comunicaciones de la UPC. El curso no pretende brindar una visión historicista del cine repleta de fechas, nombres de directores, títulos de películas y lugares exóticos, sino que intenta evidenciar la linealidad casi genética que es intrínseca al quehacer fílmico, una tradición que no solo se repite sino que se reinterpreta en distintos escenarios y en distintos momentos. Porque se entiende que el cine es, ante todo, la herencia permanente de lo que se ha hecho antes.
Los textos de la revista CineScrúpulos han sido elaborados por los alumnos, profesores y colaboradores de la Facultad de Comunicaciones de la Universidad Peruana de Ciencias Aplicadas. Las imágenes utilizadas han sido obtenidas de distintas páginas web y el uso de las mismas se inscribe en lo estrictamente académico y divulgativo.La presente edición de CineScrúpulos rinde homenaje a la obra de uno de los más grandes innovadores y revolucionarios directores de cine de todos los tiempos: Luis Buñuel. A 30 años de su muerte se hace una revisión exhaustiva de su obra para encontrar referentes en un director más contemporáneo como David Lynch. Asimismo, descubrimos a Álex de la Iglesia bajo la sombrilla de Alfred Hitchcock y luego regresamos al Perú para preguntarnos si somos capaces de construir un cine de género con sabor nacional. Pero antes damos un vistazo a la cartelera del segundo semestre de 2012, la misma que ha estado salpicada de algunas buenas películas y de otras que prometían más de lo que dieron.
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Clerc, Adrien. "William S. Burroughs et le cinéma : expérimentations, présences, contaminations." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3067.
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Cette thèse est une étude approfondie du rapport de William S. Burroughs au cinéma. William S. Burroughs, en collaboration avec Antony Balch, a produit entre 1961 et 1972 des courts-métrages expérimentaux aux formes de montage et de figuration radicales. Ces films, largement ignorés, constituent un pan essentiel du cinéma expérimental. Leur étude met en lumière l'évolution d'une pensée politico-esthétique de l'image chez Burroughs, une pensée voisine de celle de Guy Debord et qui influencera celle de Gilles Deleuze .Burroughs a également travaillé en tant qu'acteur : l'analyse de ses apparitions est ici pensée en fonction de leur rapport à l’œuvre écrite de Burroughs et à son versant biographique, l'écrivain déconstruisant les personnages qu'il joue de la même manière qu'il déconstruisait le cinéma. Un ensemble de films, répondant plus ou moins fidèlement à l’appellation d'adaptations, constituent un aspect important de notre corpus. Ces œuvres, qu'elles travaillent les écrits dans un rapport fondé sur la reproduction, le décalage, ou l'éclatement, produisent des formes inédites. Cette étude est complétée par un retour sur l'influence de Burroughs sur trois auteurs majeurs du cinéma nord-américain contemporain, Cronenberg, Van Sant et Lynch. Tous trois réinvestissent l’œuvre et la pensée de Burroughs dans le cadre de leur propre production, que ce retour se concentre sur l'apparition de la voix, le lien entre signature visuelle et présence ou la fragmentation de la narration classique. En mettant en relation expérimentations, présences et contaminations de l'écrivain au cinéma, ce travail vise la réhabilitation de ce versant de l’œuvre de William S. BurroughsThis work is an exhaustive study of William S. Burroughs' interest in cinema. Burroughs, in collaboration with Antony Balch, produced between 1961 and 1972 a series of experimental short films with radical editing and visual styles. These widely ignored films are an essential part of experimental cinema. Their study highlights the evolution of the author's political and aesthetic vision, close to those of Guy Debord or Gilles Deleuze. Burroughs also worked as an actor. The analysis of his cinematographic apparitions is linked to their relation to Burroughs' written work and its biographical aspects: the writer deconstructs the characters he plays in the same way as he deconstructs the mise-en-scène.A set of films, which can loosely be said to be adaptations, are another important part of the corpus of this study. These works, in a relation to the written word based on reproduction, shift or blow-out, produce original cinematographic images.This study is completed with a flash-forward to Burroughs' influence on three important north-american filmmakers: David Cronenberg, Gus Van Sant and David Lynch. These three authors reinvest Burroughs' work within the framework of their own production, focusing on the apparition of the voice, the link between visual signature and the notion of presence or the shattering of a conventional narrative.Linking experimentations, presences and contaminations of the writer in the cinematographic art, this thesis aims to rehabilitate this part of Burroughs' work
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Bugaj, Malgorzata. "Visceral material : cinematic bodies on screen." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/10653.
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This thesis investigates cinema’s attempts to engage in a dialogue with the trace of the physical body. My concern is with the on-screen presentation of the body rather than its treatment as a representation of gender, sexuality, race, age, or class. I examine specifically The Elephant Man (Lynch, 1980), Crash (Cronenberg, 1996), Attenberg (Tsangari, 2010), Taxidermia (Pálfi, 2006), and Sokurov’s family trilogy (Mother and Son, 1997; Father and Son, 2003; and Alexandra, 2007). The recurring tropes in these seven films include references to the medical gaze (both objective and objectifying) and haptic visuality which privileges sensual, close engagement with the image of the material object. I consider the medical and the haptic as metaphors for depictions of the body in cinema. To develop my analysis, I draw on the works of Michel Foucault, Laura U. Marks and Vivian Sobchack amongst others. I conclude that the discussed films, preoccupied with images of corporeal forms, criticise cinema’s conventional treatment of the body as simply a vessel for a goal-driven character and portray bodies which appear to consciousness in their own right.
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Bobée, Emmanuelle. "La musique et les textures sonores comme éléments du récit filmique dans l'œuvre de David Lynch, d'Eraserhead (1977) à Inland Empire (2006)." Rouen, 2015. http://www.theses.fr/2015ROUEL027.
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Cette étude vise à explorer l'univers et l'esthétique du réalisateur américain David Lynch (1946-. . . ) à travers la dimension musicale et sonore, en s'appuyant sur un vaste corpus constitué des dix longs métrages qu'il a réalisés entre 1977 et 2006. Depuis Eraserhead, véritable matrice sonore de l'oeuvre à venir, le cinéaste a toujours accordé une place prépondérante à la musique et au sound design, n'ayant de cesse de parvenir à une réelle osmose entre les composantes visuelle et sonore du récit filmique. Fortement impliqué dans la création sonore, l'élaboration des musiques originales et le choix des musiques préexistantes, il a également su nouer des collaborations fructueuses et récurrentes, notamment avec l'ingénieur du son Alan Splet et le compositeur Angelo Badalamenti, ainsi que des partenariats occasionnels avec divers artistes contemporains. Au fil des années, Lynch a développé une approche singulière, à la fois foncièrement auteuriste et ouverte aux interventions extérieures, au hasard et à l'imprévu, qui s'accompagne de méthodes de travail originales fondées sur l'expérimentation, l'intuition et le « processus d'action-réaction ». Son cinéma utilise toutes les potentialités du registre de l'audible et de la combinaison audiovisuelle pour interagir avec le spectateur, suscitant tantôt l'adhésion au monde fictionnel — notamment par des mécanismes de subjectivisation —, tantôt la désorientation et la distanciation par une mise en évidence de la représentation filmique. Ce constant déploiement de forces contraires contribue à nourrir le sentiment d'inquiétante étrangeté qui émane des récits lynchéens, renforcé ou induit par certains procédés tels que l'utilisation de chansons préexistantes puisées dans le répertoire pop des années 1960, le recours au play-back et l'intégration de scènes chantées ou chorégraphiées, ou encore la mise en place de stratégies musico-narratives inspirées par les mécanismes du rêve ou par le principe de répétition du mêmeThis study aims to explore the universe and aesthetics of American director David Lynch (1946 -. . . ), focusing upon the musical and sonic aspects; it leans on a large corpus composed of the ten feature-films that he directed between 1977 and 2006. Since Eraserhead, which appears as a sonic matrix of Lynch's future works, music and sound design have been given a prominent place by the cineaste, in order to create a true osmosis between the visual and sonic components of the filmic narrative. Deeply involved in sound creation, as much as in the elaboration of original soundtracks and the choice of pre-existing music, he has also developed fruitful and recurrent collaborations, in particular with the sound engineer Alan Splet and the composer Angelo Badalamenti, along with occasional partnerships with various contemporary artists. Over the years, Lynch has developed a singular approach, at once fundamentally authorial and open to external interventions, chance and unforeseen; he has also set up original working methods based on experimentation, intuition, and the « process of action-reaction ». All the potentialities of the audible register and of the audio-visual combination are used to interact with the spectator, arousing either the adhesion to the fictional world —especially by mechanisms of subjectivisation —, or the disorientation and detachment by a highlighting of the filmic representation. This constant deployment of opposite forces contributes to feed the feeling of uncanniness which emanates from Lynchean narratives, reinforced or induced by some techniques such as the use of pre-existing pop songs of the 60s, the resort to lip-synch and the integration of sung or choreographed scenes, or the implementation of musico-narrative strategies inspired by dream mechanisms or by the repetition principle
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Mayerová, Anna. "Výtvarná koncepce filmu "Ronnie Rocket or The Absurd Mystery of The Strange Forces of Existence" podle scénáře Davida Lynche, vizuální svět filmů režiséra Davida Lynche." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-251422.
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Abstract
The main content of my master degree work is the concept design for film based on unpublished screenplay by David Lynch. The master degree work consists of practical and theoretical part.
The theoretical part, called Visual World of David Lynch's Films, points out the influence of cultural environment, inspirations and art on visual style of his films. It finds out elementary symbols from his cultural enviroment and demostrates the way, how David Lynch use these motifs in his films. In the film analyzes, there have been found some more visual elements, which became part of David Lynch's visual style.
The practical part presents my own concept design for film based on the screenplay "RONNIE ROCKET OR The Absurd Mystery of the Strange Forces of Existence" by David Lynch. The practical part includes Screenplay synopsis, graphic part, breakdown nad visual reference.
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Guieu, Julien. "Esthétiques de l'indice dans le cinéma américain des années 2000." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030141.
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Plusieurs films américains des années 2000 (Mulholland Drive et INLAND EMPIRE de David Lynch, The Virgin Suicides de Sofia Coppola, Memento de Christopher Nolan, The Pledge de Sean Penn, Broken Flowers de Jim Jarmusch et Zodiac de David Fincher) opèrent une remise en question de la fonction, du fonctionnement et de la représentation des indices sur lesquels s’appuient tant la littérature que le cinéma policiers. Ces films, qui reprennent certains codes du genre sans être tous à proprement parler des « films policiers », ont pour point commun de mettre en scène une enquête qui n’aboutit pas et qui se retourne contre l’enquêteur jusqu’à ébranler son identité. Ils font ainsi écho aux récits de détection dits métaphysiques (The Crying of Lot 49 de Thomas Pynchon, City of Glass de Paul Auster...) : l’indice, loin de permettre la clôture du récit, devient le moyen de son ouverture. À sa juste interprétation succède le foisonnement des lectures et des histoires possibles. Autrefois transparent, il se fait opaque ; de fluide, sa circulation devient accidentée – ce à quoi correspondent de nouvelles manières de le filmer. Les codes du genre policier visant à marquer l’indice tout en favorisant sa lisibilité et l’identification avec l’enquêteur (insert en gros plan, raccord-regard, faible profondeur de champ…) sont détournés selon diverses stratégies : inversion, exagération, etc. Celles-ci ont pour effet de déjouer les attentes des spectateurs et de les rendre inquiets en rétablissant l’incertitude fondamentale de la littérature policière, que le cinéma policier tend à minorer, tout en la mettant au service de projets esthétiques par ailleurs très différents les uns des autresA few American films released between 2000 and 2007 (David Lynch’s Mulholland Drive and INLAND EMPIRE, Sofia Coppola’s The Virgin Suicides, Christopher Nolan’s Memento, Sean Penn’s The Pledge, Jim Jarmusch’s Broken Flowers and David Fincher’s Zodiac) question the function, inner workings and representation of the clues on which detective fiction and film rely. These movies, which take up certain tropes of the genre without necessarily being detective films per se, all revolve around an investigation which is left incomplete and eventually turns against the investigator, to the point of shattering his or her sense of identity. They thus follow in the footsteps of metaphysical detective fiction (novels such as Thomas Pynchon’s The Crying of Lot 49 and Paul Auster’s City of Glass), in that the clue, instead of bringing about the closure of the narrative, becomes the instrument of its open-endedness. Its one correct interpretation is replaced by a proliferation of possible readings and stories. Once transparent, it turns opaque; once fluid, its circulation becomes problematic – which leads to new ways of filming it. The codes that detective films use to point out the clue, increase its legibility and foster identification with the investigator (close-up insert, eyeline match, shallow focus…) are subverted through a number of strategies such as inversion and exaggeration. These aim to deceive the spectator’s expectations and to unsettle him or her by reinstating the fundamental uncertainty of detective fiction, which detective films normally tend to repress, and which is here incorporated into aesthetic projects that otherwise differ widely
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Groleau, Catherine. "Les genres cinématographiques comme clés de signification dans l'oeuvre de David Lynch : une étude de Blue Velvet (1986), Lost Highway (1997) et Mulholland Drive (2001)." Master's thesis, Université Laval, 2020. http://hdl.handle.net/20.500.11794/67160.
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Le genre filmique – moteur par excellence de la cinématographie hollywoodienne – s’est imposé, au cours des dernières décennies, comme un champ théorique à part entière des études cinématographiques. Or, sa reconnaissance tardive au sein de la recherche universitaire témoigne du paradoxe structurant le champ cinématographique hollywoodien. En effet, la tension qu’entretient Hollywood entre l’industrie du divertissement et le cinéma d’art se révèle d’une façon particulière à travers la notion de genre cinématographique, qui s’avère à la fois un canevas de fabrication et un espace de création. Ce mémoire vise l’étude du genre filmique selon trois articulations : d’un point de vue institutionnel, d’abord, en questionnant les enjeux du champ cinématographique hollywoodien ; d’un point de vue théorique, ensuite, au moyen d’une plongée au sein des conventions et des procédés de trois genres filmiques ; et finalement, à travers l’analyse d’un corpus de films du réalisateur David Lynch. Ainsi, l’œuvre de Lynch, par son caractère marginal, inclassable et profondément étrange, donnera lieu à un parcours, certes, atypique, mais néanmoins significatif de ces trois niveaux de l’étude du genre filmique, dictant par le fait même une division en deux parties du travail. Dans un premier temps, le mémoire s’attardera à mettre en perspective la définition du champ hollywoodien et la trajectoire de Lynch, ce qui nous permettra d’identifier trois genres filmiques qui présentent un ancrage particulier au sein de la filmographie lynchienne, soit le thriller, le film noir et l’horreur. Dans un deuxième temps, nous procéderons à l’analyse filmique de Blue Velvet (1986), Lost Highway (1997) et Mulholland Drive (2001), trois films qui adoptent la logique de la trilogie en proposant, reprenant, puis aboutissant à un certain nombre de motifs issus des conventions génériques. Ainsi, les grilles de lecture des genres filmiques explorés par le cinéaste permettront d’observer la dimension à la fois classique et expérimentale de l’œuvre lynchienne par rapport à la cinématographie hollywoodienne tout en exposant les innovations du cinéaste à l’égard d’éléments génériques spécifiques.The film genre – the driving force par excellence of Hollywood cinematography – has established itself in recent decades as a theoretical field in its own right in Film Studies. However, its late recognition within academia testifies to the paradox underlying Hollywood cinematography. Indeed, the tension that Hollywood maintains between the entertainment industry and art cinema is revealed in a particular way through the concept of cinematographic genre, which turns out to be both a canvas for production and a space for creation. This thesis aims to study the film genre according to three articulations: first, from an institutional perspective by questioning the challenges within the Hollywood cinematographic field from a theoretical point of view; second, by exploring the conventions and processes of three film genres; and thirdly, through the analysis of a corpus of films by director David Lynch. Thus, Lynch's work, by its marginal, unclassifiable and profoundly strange character, will lay the foundation for an admittedly atypical, but nevertheless significant analysis of these three levels of study of the film genre, thereby dividing this work in two parts. Initially, the thesis will focus on putting into perspective the definition of the Hollywood field and Lynch's trajectory, which will allow us to identify three significant film genres within Lynch’s filmography, namely the thriller, film noir and horror. In a second step, we will proceed with the filmic analysis of Blue Velvet (1986), Lost Highway (1997) and Mulholland Drive (2001), three films which adopt the logic of a trilogy by proposing, summarizing then culminating in a certain number of motifs from generic conventions. Thus, the analytical perspectives from the film genres explored by the filmmaker will allow us to observe both the classical and experimental style of the Lynchian work in Hollywood cinematography while exhibiting the filmmaker's contribution to certain elements of filmic genre.
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Leggett, Andrew Alfred George. "In Dreams, a Novel and its Exegesis: In Dreams – Novel; The place of dreams in the Novel and the Cinematic Work of David Lynch– Exegesis." Thesis, Griffith University, 2016. http://hdl.handle.net/10072/366962.
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Dr Garrick Willis, the protagonist of my novel In Dreams, is a recently divorced neurologist who suffers premonitory dreams and intrusive violent fantasies. Willis loses his girlfriend Jade to a drug dealing pimp and comes to be wrongly accused of her murder, a crime that has plagued his waking fantasies and haunted his dreams. At the start of the novel, Garrick’s first patient for the afternoon is Nick Myshkin, with whom he has just shared a seat on the train from Meadowbrook to Princess Alexandra Hospital. Nick is a bass player in the grunge band Return of the Evil Youth for Christ, who deals amphetamines in Fortitude Valley nightclubs and pimps mysterious women on the streets. Garrick is not aware that his discomfort with Nick’s utterance of the name ‘Jade’, during complex partial seizures, is based in their common interest in the same woman, or that he and Nick were born to the same mother. Jade progressively unravels towards a violent end. Her attachment and investment moves from protagonist to antagonist, as her nursing colleague Rachel takes her place in Garrick’s heart.
Garrick struggles to contain the expression of his passionate and violent emotions in poetry, to translate his destructive impulses into clinical research and expressions of love. His poems, integrated into the text, serve as vehicles for twists in its structure. He fails to heed his premonitory dreams, and his vacillations cost him dearly. He does too little, and always arrives just too late.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities, Languages and Social Science
Arts, Education and Law
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Pereira, Marcílio Machado. "Caminhos contemporâneos Cortázar e outros destruidores de bússolas." Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=2691.
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A presente tese se ocupa de uma vertente da literatura e do cinema contemporâneos, especialmente do escritor Julio Cortázar e do cineasta David Lynch, que: busca um novo tratamento para a realidade, não esconde os artifícios discursivos das obras, joga com estratégias ilusionistas e antiilusionistas, debate a própria ficção por meio de recursos metaficcionais, que se utiliza da metáfora do teatro como espaço diferenciado e como palco de ilusões e que trabalha com a questão do fantástico (ou absurdo). Grande parte do trabalho é dedicada ao estudo da obra do escritor argentino Julio Cortázar. Estudo esse que se constrói a partir das correspondências entre as produções ficcionais e teóricas de Cortázar, além de suas próprias entrevistas. Cortázar é nosso foco principal e dele, acreditamos, brotou um veio dos mais significativos na narrativa contemporânea, que estabelece novos modos de se lidar com a representação e com as referências. É devido a esses aspectos, apontados anteriormente, que estabelecemos relações com outros autores, inclusive do cinema, como é o caso de David LynchThis thesis deals with one aspect of literature and contemporary cinema, especially the writer Julio Cortázar and filmmaker David Lynch, that: a search for new treatment really does not hide the artifice of the discursive works, plays with illusionist and anti-illusionist strategies, debate the fiction itself through metaficcionais resources, which uses the metaphor of the theater as a space variable and to stage illusions and working with the issue of the fantastic (or nonsense). Much of the work is devoted to the study of the work of Argentine writer Julio Cortázar. Study which is constructed from the correspondence between the fictional and theoretical productions of Cortázar, and his own interviews. Cortázar is our main focus and goals, we came a shaft of the most significant in contemporary novels, establishing new ways of dealing with the representation and referrals. It is because of these issues, previously mentioned, we have established relationships with other authors, including the cinema, as is the case of David Lynch
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Fischer, Christian. "The Third Place in Lynchville." Universitätsbibliothek Chemnitz, 2008. http://nbn-resolving.de/urn:nbn:de:bsz:ch1-200801099.
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Der Artikel untersucht einen Werbespot von David Lynch für die Playstation 2 und ordnet ihn in das Universum der Lynch’schen Texte, das Lynchville, ein. Zunächst werden dazu einige regelmäßig wiederkehrende Motive aus dem Werk Lynchs vorgestellt. Es folgt eine eingehende Analyse des Werbespots, in der zahlreiche Parallelen zu den bekannten Filmen des Œuvres aufgezeigt werden. Abschließend wird kurz der Frage nachgegangen, inwiefern der Begriff „auteur“ in dieser wohl kommerziellsten aller filmischen Ausdrucksformen überhaupt anwendbar ist. Der Artikel kommt zu dem Ergebnis, dass es Lynch in diesem Werbespot gelingt, eine persönliche Visiondurchscheinen zu lassen – und dass die Karte des Lynchville deshalb um einen neuen Ort ergänzt werden mussThe article analyzes a television-commercial, which David Lynch shot for the launch of Playstation 2. It tries to introduce that commercial into the universe of well known Lynch-Movies, the Lynchville. At first, some of the recurrent motives in Lynch’s work will be discussed. Then the commercial will be analyzed, especially regarding any parallels to Lynch’s Œuvre. Finally, the question will shortly be discussed whether in this most commercial form of filmmaking the term “auteur” can still apply. The article comes to the conclusion, that Lynch succeeds in maintaining his personal vision – and that therefore the map of Lynchville has to be expanded
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Fernandez, Camaño Suzanne. "Lectures croisées des figures de l'infirme et de son territoire dans trois films de David Lynch : Eraserhead (1976), the Elephant man (1980), the Straight story (1999)." Toulouse 2, 2009. http://www.theses.fr/2009TOU20058.
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Le corps infirme dans le cinéma de David Lynch traduit le paradoxe qui existe entre la figure de l'infirme et la notion d'esthétique, entre le sacré et le profane, entre la prédestination et le libre arbitre. Il provoque le questionnement. Il est interface. Le corps infirme devient un motif en art, en particulier en peinture. Le discours filmique sur le corps infirme doit s'entendre aussi comme un discours religieux dans lequel s'opposent image et parole inscrites dans la tradition de la lecture réformée du texte biblique. Dans cette querelle, le destin de l'homme infirme apparaît dans toute sa réalité. Il a une destinée qui se confond avec la réalité de l'espace-temps de la société étatsunienne. Le territoire est traité symboliquement comme l'espace où peut se réaliser le projet de l'infirme. La ville est un lieu de perdition alors que la campagne incarne la grandeur biblique qui accompagna les premiers émigrants. Dans cette opposition, le labyrinthe peut être étudié comme une figure narrative : un objet apotropaïque qui se présente comme lieu de l'enfermement. Les héros et les antihéros lynchéens sont porteurs de valeurs qui s'inscrivent dans une triple tradition : la tradition homérique, la tradition judéo-chrétienne, ainsi que celle issue de l'Histoire américaine. Dans cette Histoire, le territoire doit être entendu comme un espace de socialisation. Le rapport entre l'espace et l'infirme pose la question de son intégration au monde. Et la relation de l'infirme au monde se lit au regard de la querelle qui oppose la théorie du créationnisme à la théorie darwinienne de l'évolutionnisme, théories qui induisent l'acceptation de l'autre dans sa différence. Dans les trois films, cette question est posée et la réponse que donne Lynch et pour chacun d'eux différenteThe disabled body in David Lynch's cinema mirrors the paradox which exists between the figure of the cripple and the notion of aesthetics, between the sacred and the profane, between predestination and free will. It calls for questioning. It's an interface. The disabled body becomes an artistic motif, particularly in painting. The film discourse as far as the crippled body is concerned must also be understood as a religious one in which the image and the word are opposed in the tradition of a reformed reading of the Bible. In this argument, the cripple's destiny appears in all its raw reality ; her destiny embodies the space-time reality of society. Territory is seen symbolically as the space in which the cripple's own project can be realised. The town is a place of perdition whereas the country embodies the biblical grandeur which welcomed the first settlers. In this opposition, the labyrinth can be studied as a figure of speech in the narrative : a protective space which can also be seen as a place of confinement. The heroes and antiheroes in Lynch's works are imbued with values inherited from a triple tradition : the omeric, the Judeo-Christian as well as that inspired by American history. In this history, their notion of territory is to be seen as a place for socialisation. The relationship between space and the cripple raises the issue of his/her integration into the world. And the relationship of the cripple to the world can be read in the light of the argument opposing creationism and Darwinism, two theories which lead to accepting the other in all his/her difference. The three films broach this question and Lynch gives a different answer in each
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Alva, Flores Mariana. "Del pincel a la cámara : un análisis del concepto "nostalgia americana" visto en las pinturas de Edward Hopper y reinterpretado en la película "Blue Velvet" de David Lynch." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2017. http://tesis.pucp.edu.pe/repositorio/handle/123456789/9762.
Full textAbstract:
El presente es un profundo análisis del film “Blue Velvet” de David Lynch y la
reinterpretación del concepto “nostalgia norteamericana”, visto en las pinturas
de Edward Hopper. La “nostalgia americana” es un término acuñado por la
tesista, que describe el sentir de la población estadounidense luego de los
momentos de guerra y crisis de su país. Gracias a un análisis de la imagen, se
concluye que las pinturas de Edward Hopper retratan ese estado anímico
compuesto de nostalgia, soledad, ensimismamiento y melancolía, a través de
los aspectos formales y de contenido. De esa manera aparece David Lynch,
quien logra reinterpretar el mismo sentir. Luego de descomponer “Blue Velvet”
y analizar minuciosamente sus escenas, se argumenta que la reinterpretación
se da a través de dos procedimientos: a través de composiciones similares
entre las pinturas y los encuadres, y por medio de los nuevos recursos que
otorga la comunicación audiovisual, que favorecen e impulsan dichos aspectos
de composición. Es importante tener en cuenta que tanto los recursos
audiovisuales, como los aspectos formales (en las pinturas) se relacionan al
componer encuadres similares y narrar casi un mismo discurso: el de la
“nostalgia americana”. Sin embargo, este relato se potencia en “Blue Velvet”,
ya que se utilizan recursos como el movimiento de cámara, el movimiento
interno y el montaje, los cuales favorecen a evidenciar el concepto. Y allí se
descubre la relevancia de esta investigación, ya que, gracias al análisis de los
recursos audiovisuales, se evidencia la autoridad del cine como recurso
artístico capaz de observar, procesar y analizar sucesos traumáticos que han
sido parte la historia. Se otorga un aporte al conocimiento existente sobre cine
y pintura, pero además se enriquece el conocimiento audiovisual
estableciendo nuevos aportes y conceptos.Tesis
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Robinson, Kynan. "The making and placing of The Escalators." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/37299/1/Kynan_Robinson_Thesis.pdf.
Full textAbstract:
The band The Escalators together with the music uniquely composed for it and a subsequent CD and DVDs was the work that emerged from my period of research. The areas of interest that were investigated were sampling, minimalism, stasis, the work of David Lynch, as well as a desire to produce new and innovative music.
The above concepts defined the bands composition and makeup. While each may be regarded as a discreet concept with its own boundaries in my work they seamlessly intermingle resulting in that which is unique to The Escalators sound.
The research methodology used for this work was practice led research.
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Birkholz, Emma. "På spaning efter den kropp som flyr : mellan kön och text i Nina Bouraouis Mina onda tankar." Thesis, Södertörns högskola, Institutionen för genus, kultur och historia, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-2174.
Full textAbstract:
This is a study of the novel Mes mauvaises pensées (2005) by the French writer Nina Bouraoui. I use an intertextual comparative method, where I read the novel against three intertexts: Marie Cardinal Les mots pour le dire (1975), the David Lynch movie Mulholland Drive (2001) and novels and photographies by Hervé Guibert. Main focus is on the relation between body and language. Using the psychoanalytic theories by Julia Kristeva I examine the melancholy of the narrator in Mes mauvaises pensées. The melancholic subject mourns a Thing which is the unrepresentable archaic mother. Melancholy is connected to the notion of exile; the subject belongs to a lost place in the past which it is still holding on to. The narrator of Mes mauvaises pensées is still living in her childhood, even though she is a grown up woman. I show how the place from where she speaks is the child. The female body and the female sexuality are not represented in the text, there is a missing link between the female body and it’s representation in language – in the symbolic order. According to Kristeva the melancholic denies the loss of the Thing – in the end the mother – and clings to the unrepresentable void. By realizing and acknowledging the loss one can reconstruct the bond to the archaic mother in language. Bouraoui’s failure in writing the feminine into the text is interesting because it puts lights on the conditions of writing the body for women. The theory of l’écriture féminine is an inspiration for the analyses and I contrast it to Judith Butler’s idea of gender performativity. There is a conflict in what constitutes gender and sex between psychoanalysis and queer theory, which is also found in the narrator in Bouraoui’s novel – trying to create herself through pure performativity she never succeeds to act independently of the mother and the female body.
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Tisseur, Pierre. "Coulisses : scénario original ; suivi de Condensation et déplacement dans l'onirisme au cinéma." Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27548/27548.pdf.
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Pontén, Joon. "The final final final cut : Fan edits och hur de samverkar med filmindustrin." Thesis, Stockholms universitet, Institutionen för mediestudier, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-77200.
Full textAbstract:
Begreppet ”fan edits” betecknar filmer som klipps om av fans, vilka är missnöjda med hur en adaption för vita duken som gjorts. I min uppsats vill jag påvisa dels hur samspelet mellan fans och filmmakare/filmbolag sett och ser ut, dels försöka klargöra varför copyright/fair use är så knepigt att applicera på området.
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Dvořák, Michal. "Psychologická linka jako vyprávěcí prostředek." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-390783.
Full textAbstract:
We see the film like a reality because our perception of the film is like
a reality around us. Movie as a dream and like a dream has unique tools how describe our soul and unconscious processes. This advantage is a crucial for my research, how can be useful for understanding how our unconscious works. C. G. Jung and Joseph Campbell and his work helps me with looking for the answer. How can film speak to us through the psychological layer instead of the narrative layer.
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Jakobsson, Kim, and Daniel Sandberg. "Drömmen i dåliga bilder -En studie om estetiken i Beyond the Black Rainbow och Inland Empire." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-72137.
Full textAbstract:
This thesis examines visionary directors David Lynch and Panos Cosmatos aesthetics in the films Inland Empire and Beyond the Black Rainbow. Two films with surrealistic aspects that are using a form of degraded aesthetics to achieve a certain kind of cinematography that is rarely seen in the industry. We examine what tools are being used to achieve the effect with theories concerning defamiliarization, the uncanny and uncanny valley. Aspects of cinematography in these films are working together to create effects that are both defamiliarized and uncanny.
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Pinguet, Léo. "Esthétique des clichés : épistémologie, généalogie et usages cinématographiques aberrants d’un phénomène normatif." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H301.
Full textAbstract:
Ce travail se propose de penser les conditions de possibilité d'une esthétique des clichés en s'appuyant principalement sur trois axes : un commentaire de Gilles Deleuze et son usage de la notion de cliché ; une enquête épistémologique et généalogique croisant les apports des études littéraires et de la philosophie au regard de l'esthétique ; une analyse des films américains de Joe Dante, Brian de Palma, David Lynch, John Carpenter et Paul Verhoeven. Les clichés sont généralement perçus, pensés et jugés de manière strictement dépréciative comme relevant d'un raté du discours ou de l’œuvre d’art qui renvoient à une aliénation et une an-esthésie. Dégager le paradigme d'hostilité qui prévaut à leur appréhension, autant que le modèle ordinaire de reconnaissance et de désignation du phénomène permettent, au contraire, d'entrevoir une aporie des clichés entre normativité et aberration. L'analyse du dispositif esthétique de certains films, qui problématisent le rapport des corps, du cerveau et des images, tout en manipulant les clichés sans pour autant être jugés comme tels, permet d'envisager une autre manière de sentir les clichés et d'autres types de clichésThis work examines the conditions of possibility of an aesthetic of clichés. The approach is mainly based on three directions: a commentary of Gilles Deleuze and his use of the notion cliché; an epistemological and genealogical investigation combining the contributions of literary studies and philosophy from an aesthetic point of view; an analysis of American films by Joe Dante, Brian de Palma, David Lynch, John Carpenter and Paul Verhoeven. Clichés are generally perceived, reflected and judged in a strictly depreciative way as a failure of the discourse or as failure for the works of art, a failure that refers to alienation and anesthesia. Identifying the paradigm of hostility that prevails in their apprehension, as much as the ordinary model of recognition and designation of the phenomenon allows, on the contrary, to glimpse an aporia of clichés between normativity and aberration. The analysis of the aesthetic device of certain films, which problematizes the relationship between bodies, brain and images while manipulating the clichés without being judged as such, allows to consider another way of feeling the clichés and other types of clichés
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Lateef, Fehraz Aaron. "High fashion." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/31818/1/Fehraz_Lateef_Thesis.pdf.
Full textAbstract:
High Fashion is a practice-led research enquiry that examines the processes involved in producing a no-budget film of high aesthetic standards that can confidently compete in the global film festival market, and to reflect on the production techniques tested during the making of the film.
The practical outcome of the research is a twenty-five minute short drama. It incorporates a large cast and crew, original designer clothing, extravagant sets, and a popular soundtrack. The thesis considers how over one hundred professionals volunteered their time, expertise, and equipment to help produce the film. The thesis also examines the many obstacles encountered while producing the film and how these were overcome. It is written for the student filmmaker as a guide to "learn by doing."