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Journal articles on the topic 'David Lynch'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 January 2025

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1

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

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

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2

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

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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

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11

Zhou, Shuxuan. "Lift the Multiple Veils on Genders Roles in Blue Velvet." Communications in Humanities Research 2, no. 1 (February 28, 2023): 505–13. http://dx.doi.org/10.54254/2753-7064/2/20220594.

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

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12

Troelsen, Anders. "Lynch-læsninger. Anne Jerslev: David Lynch i vore øjne." MedieKultur: Journal of media and communication research 8, no. 18 (August 29, 1992): 3. http://dx.doi.org/10.7146/mediekultur.v8i18.937.

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13

Blake Skelton, Shannon. "The architecture of David Lynch." CINEJ Cinema Journal 6, no. 1 (September 14, 2017): 150–56. http://dx.doi.org/10.5195/cinej.2017.157.

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14

McKinney, Devin. "Wild at Heart David Lynch." Film Quarterly 45, no. 2 (December 1991): 41–46. http://dx.doi.org/10.2307/1213079.

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15

Niels Niessen. "American Dreams ft. David Lynch." Cultural Critique 99 (2018): 31. http://dx.doi.org/10.5749/culturalcritique.99.2018.0031.

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16

Plasseraud, Emmanuel, Pierre Beylot, and Clément Puget. "David Lynch et les arts." Ligeia N° 165-168, no. 2 (2018): 27. http://dx.doi.org/10.3917/lige.165.0027.

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17

Pasche, Raphaël. "David Lynch : figure de l’auteur." Décadrages, no. 4-5 (April 10, 2005): 71–82. http://dx.doi.org/10.4000/decadrages.582.

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18

Boillat, Alain, François Bovier, André Chaperon, Laurent Guido, Denis Martin, and Marthe Porret. "Filmographie commentée de David Lynch." Décadrages, no. 4-5 (April 10, 2005): 83–96. http://dx.doi.org/10.4000/decadrages.583.

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19

Godwin, K. George. "Review: Eraserhead by David Lynch." Film Quarterly 39, no. 1 (1985): 37–43. http://dx.doi.org/10.2307/1212282.

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20

Lauro, Reno. "The Architecture of David Lynch." New Review of Film and Television Studies 13, no. 4 (July 24, 2015): 461–64. http://dx.doi.org/10.1080/17400309.2015.1061410.

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21

McKinney, Devin. ": Wild at Heart . David Lynch." Film Quarterly 45, no. 2 (December 1991): 41–46. http://dx.doi.org/10.1525/fq.1991.45.2.04a00080.

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22

Jerslev, Anne. "David Lynch and the Fragment." Romantik 10, no. 1 (December 12, 2021): 115–38. http://dx.doi.org/10.14220/jsor.2021.10.1.115.

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23

Niessen, Niels. "American Dreams ft. David Lynch." Cultural Critique 99, no. 1 (March 2018): 31–65. http://dx.doi.org/10.1353/cul.2018.a701012.

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24

Pérez-Pamies, Daniel, and Marta Lopera-Mármol. "Buoying corpses up: A journey between Sunset Blvd. (1950) and Twin Peaks (1990-2017)." Comparative Cinema 7, no. 13 (November 29, 2019): 55–66. http://dx.doi.org/10.31009/cc.2019.v7.i13.05.

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This article uses a comparative and hermeneutical analysis to explore the similarities and differences between the cinematographic work of Billy Wilder,in particular, Sunset Blvd. (1950), and David Lynch and the well-known television series Twin Peaks (David Lynch & Mark Frost, CBS, 1990-1991), as well as itswidely-expected continuation: Twin Peaks: The Return (David Lynch & Mark Frost, Showtime, 2017), paying special attention to the representation of the corpse both in narrative and historical terms. The hypothesis of the authors is that the figuration of the dead contains and symbolizes a specific model of representation at the same time as it anticipates the appearance of a new one. In conclusion, the body in suspension, located in the gap between life and death, functions as a hinge between the past and the future.

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25

Stewart, Jane Alexander. "At the MoviesLost Highway. Directed by David Lynch . Written by David Lynch and Barry Gifford ." San Francisco Jung Institute Library Journal 16, no. 1 (March 1997): 69–73. http://dx.doi.org/10.1525/jung.1.1997.16.1.69.

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26

Wyatt, Justin. "Review: David Lynch by Michel Chion." Film Quarterly 50, no. 1 (1996): 43–44. http://dx.doi.org/10.2307/1213332.

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27

Morice, Philippe. "David Lynch on the (h)air." Ligeia N° 165-168, no. 2 (2018): 81. http://dx.doi.org/10.3917/lige.165.0081.

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28

Biga, Tracy. "Review: Blue Velvet by David Lynch." Film Quarterly 41, no. 1 (1987): 44–49. http://dx.doi.org/10.2307/1212327.

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29

Burningham, Bruce R. "David Lynch and the Dulcineated World." Cervantes 30, no. 2 (September 2010): 33–56. http://dx.doi.org/10.3138/cervantes.30.2.033.

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30

Magallanes, Sophia, Lucía Galindo, Claudia Padilla, and Aldo Rosales. "El camino del Perro Andaluz: David Lynch, heredero del surrealismo." CineScrúpulos 1, no. 1 (September 7, 2020): 11–16. https://doi.org/10.19083/cinescrupulos.v1i1.1283.

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: A 30 años de la muerte del recordado director español Luis Buñuel, David Lynch toma la posta y hereda la maestría del surrealismo buñueliano como forma de expresión. Lynch ha demostrado ser uno de los directores surrealistas más importantes, lo cual demuestra que el legado de Buñuel no se ha perdido ni se ha olvidado, sino que ha tomado nueva forma a través de este director.

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31

Clark, Cole. "Mulholland Dr.: Lost in the Senses." Film Matters 13, no. 2 (September 1, 2022): 122–27. http://dx.doi.org/10.1386/fm_00240_4.

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32

Daverat, Xavier. "L’installation dans les films de David Lynch." Ligeia N° 165-168, no. 2 (2018): 162. http://dx.doi.org/10.3917/lige.165.0162.

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33

Bulkeley, Kelly. "Dreaming and the cinema of David Lynch." Dreaming 13, no. 1 (2003): 49–60. http://dx.doi.org/10.1023/a:1022190318612.

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34

Buckland, Warren. "David Lynch swerves: uncertainty fromLost HighwaytoInland Empire." New Review of Film and Television Studies 12, no. 1 (January 2, 2014): 71–73. http://dx.doi.org/10.1080/17400309.2013.878126.

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35

Lim, Dennis. "Book Review: David Lynch by Justus Nieland." Film Quarterly 66, no. 1 (2012): 67–69. http://dx.doi.org/10.1525/fq.2012.66.1.67.

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36

Lyons, Siobhan. "Book Review: The Architecture of David Lynch." Media International Australia 159, no. 1 (May 2016): 134–35. http://dx.doi.org/10.1177/1329878x16638897f.

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37

Stein, Richard. "No Hay Banda: It Is All an IllusionMulholland Drive, 2001, Screenplay by David Lynch , Directed by David Lynch ." San Francisco Jung Institute Library Journal 23, no. 3 (August 2004): 77–84. http://dx.doi.org/10.1525/jung.1.2004.23.3.77.

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38

Naugrette, Jean-Pierre. "David Hockney (1980) et David Lynch (2001), auteurs de Mulholland Drive." Ligeia N° 77-80, no. 2 (2007): 223. http://dx.doi.org/10.3917/lige.077.0223.

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39

Authors, Collective. "In the Park, the Horses Didn't Mind by Kevin Richardson: Artist's Statement and Five Critical Reviews." ti< 3, no. 1 (March 29, 2014): 3–15. http://dx.doi.org/10.26522/ti.v3i1.899.

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40

Quaioti, Henrique Bolzan, and Rogério Ferraraz. "Experimentações narrativas em Twin Peaks: The Return: narração paramétrica na ficção televisiva contemporânea." RuMoRes 15, no. 30 (December 29, 2021): 267–95. http://dx.doi.org/10.11606/issn.1982-677x.rum.2021.186698.

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O objetivo deste artigo é identificar a existência de narração paramétrica (conceito originalmente aplicado por David Bordwell a certas obras fílmicas) na ficção televisiva contemporânea, bem como apontar uma hipótese sobre o propósito do uso desse modo narrativo. Para tanto, elegemos como corpus a série "Twin Peaks: the return" (2017), dirigida por David Lynch e escrita por ele e por Mark Frost. Acreditamos ser possível identificar que existe pelo menos um evento narrativo na série que pode ser considerado paramétrico, que denominamos “Dale Cooper letárgico”. Através da análise desse evento narrativo, pretendemos demonstrar, que, usando uma narrativa paramétrica, Lynch e Frost subvertem grande parte das convenções que a própria série original engendrou em 1990, trazendo, assim, novas experimentações à ficção televisiva.

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41

Silveira, Giovana Del Masso, and Rogério Ferraraz. "Reafirmando o conceito de cinema limítrofe: análise comparativa entre os primeiros filmes e os últimos projetos audiovisuais de David Lynch." Anagrama 10, no. 1 (January 4, 2016): 1–13. http://dx.doi.org/10.11606/issn.1982-1689.anagrama.2016.108974.

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O cinema do diretor norte-americano David Lynch se mantém em uma linha fronteiriça entre temas opostos, ao trabalhar com contrastes e analogias. Algumas dessas oposições foram extraídas do expressionismo, como o uso do claro e do escuro, também visto no cinema noir. Mas o traço marcante do diretor é a questão onírica, inspirada no surrealismo. Dessa forma, Lynch mistura o cinema narrativo clássico e o filme de gênero com os cinemas de vanguarda e o filme experimental, causando estranhamento e angústia, realizando o que pode ser chamado de “cinema limítrofe” (FERRARAZ, 2003). Com base em tais considerações, busca-se aqui apontar se estes traços autorais, notados nas primeiras obras do cineasta, continuam sendo empregados em seus últimos trabalhos, especialmente a partir do filme Cidade dos sonhos (2001), voltando as atenções também para suas obras audiovisuais feitas para TV, vídeo e internet. Assim, essa pesquisa de IC vincula-se ao projeto Autoria e gêneros(s) no cinema limítrofe de David Lynch, desenvolvida e supervisionada pelo orientador Rogério Ferraraz

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42

Castelo, Sander Cruz. "Impasses do Cinema Surrealista Contemporâneo." Revista Cronos 19, no. 1 (May 31, 2019): 46–55. http://dx.doi.org/10.21680/1982-5560.2018v19n1id17871.

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Os filmes Império dos sonhos (Inland Empire, EUA/FRA/POL, 2006), de David Lynch, e Os limites do controle (The Limits of Control, EUA, 2009), de Jim Jarmusch, revelam os impasses do cinema surrealista contemporâneo, oscilando entre o excesso e a inibição. No primeiro, refilmagem de obra maldita reanima ciclo de adultérios e assassinatos em Hollywood. No segundo, homem executa na Espanha missão secreta minuciosamente planejada. Enquanto o filme de Lynch funde imaginação e realidade, o de Jarmusch as opõe.

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43

Nochimson, Martha P. "Mulholland Drive." Film Quarterly 56, no. 1 (2002): 37–45. http://dx.doi.org/10.1525/fq.2002.56.1.37.

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But what does David Lynch really think of Hollywood? Mulholland Drive reveals both his passionate, radiant belief in the rich possibilities of American popular culture and his dark insight into its capacity to destroy its best and brightest. Everything hinges on one moment in which the destinies of seemingly disparate people join in an irreversible trajectory. Double identities, shifts in time and space, music, and the fertile darkness of the unknown all serve as elements by means of which Lynch conveys his vision.

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44

Kruth, Patricia. "David Lynch peintre et cinéaste : corps et espace." Ligeia N° 97-100, no. 1 (2010): 180. http://dx.doi.org/10.3917/lige.097.0180.

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45

Cabart, Anaïs. "Le film hanté de David Lynch : Inland Empire." Ligeia N° 165-168, no. 2 (2018): 99. http://dx.doi.org/10.3917/lige.165.0099.

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46

Souladié, Vincent. "David Lynch en vitrine : fiction, hypnose et attraction." Ligeia N° 165-168, no. 2 (2018): 195. http://dx.doi.org/10.3917/lige.165.0195.

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47

Kraszewski, Jon. "A Review of “The Philosophy of David Lynch”." Quarterly Review of Film and Video 30, no. 3 (May 2013): 255–58. http://dx.doi.org/10.1080/10509208.2011.647519.

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48

Jong-Ho Pih. "The Pastiche Films of David Lynch and Postmodernism." Contemporary Film Studies 6, no. 2 (November 2010): 467–86. http://dx.doi.org/10.15751/cofis.2010.6.2.467.

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49

Cameron, Ed. "“I Like to Remember Things My Own Way”: Metaleptic Nostalgia in the Neo-noir Cinema of David Lynch." Genre 54, no. 3 (December 1, 2021): 341–67. http://dx.doi.org/10.1215/00166928-9407597.

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This essay focuses on the possibility of articulating a form of nostalgia in film not tied to an opposition to irony. It concentrates on the neo-noir cinema of David Lynch precisely because he is a master of balancing nostalgic sincerity and postclassical irony within the same film. Therefore, the essay argues that the films of David Lynch present the viewer with a way out of the postmodern deadlock where nostalgia remains less radical than irony. To make this argument, the essay utilizes Giambattista Vico's notion of the ricorso from book 5 of The New Science in order to situate Lynch's unique position within the history of film noir as a genre. Vico's poetic developmental scheme, which relies on the “four master tropes” (metaphor, metonymy, synecdoche, and irony), is adapted to the historical evolution of film noir as a genre. The essay then translates Vico's ricorso into a fifth master trope, metalepsis, and connects Lynch's form of postnostalgic uncanny (and Vico's ricorso) to metalepsis (in both the tropological and narrative sense) to show how Lynch moves neo-noir beyond the structure of irony without flirting with the new sincerity or metamodernism.

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50

Kovacich, Joann. "Book Reviews." Anthropology & Aging 34, no. 4 (April 1, 2014): 264–69. http://dx.doi.org/10.5195/aa.2014.6.

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Lynch, Caitrin & Danely, Jason, Eds. Transitions & Transformation: Cultural Perspectives on Aging and the Life Course Renee Rose ShieldChang, Heewon, Faith Wambura Ngunjiri, and Kathy-Ann C. Hernandez. Collaborative Autoethnography Richard ZimmerUlsperger, Jason S. and Knottnerus, J. David. Elder Care Catastrophe: Rituals of Abuse in Nursing Homes & What You Can Do About It Diane L. BrownSanjek, Roger. Gray Panthers Lindsay DuBoisHaber, David. Health Promotion and Aging: Practical Application for Health Professionals. Jennifer Wagner

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