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The film paintings of David Lynch : challenging film theory / Allister Mactaggart.

Contributor(s): Material type: TextTextPublication details: Bristol : Intellect, 2010.Description: 203 s. : illISBN:
  • 9781841503325 (pbk.)
  • 1841503320 (pbk.)
Subject(s): DDC classification:
  • 791.43 LYN
Contents:
Introduction: Towards a Palimpsest 1. Ever Died? -- Ever Failed? -- No Matter -- Die Again -- Fail Better -- Immanence and Transcendence In Twin Peaks (With Apologies To Samuel Beckett)2. Reasons to be Tearful: Snapshots of Lynchian Excess 3. Driven to Distraction: Hitching a Ride along the Lynchian Highway 4. Pierced by the Past: Filmic Trauma; Remembering and Forgetting 5. \'It is Happening Again\': Experiencing the Lynchian Uncanny 6. The Return of the Repressed: INLAND EMPIRE, DavidLynch.Com, and the Re-emergence of Film Painting -- Conclusion: Stitching up Lynch.
Summary: One of the most distinguished filmmakers working today, David Lynch is a director whose vision of cinema is firmly rooted in fine art. He was motivated to make his first film as a student because he wanted a painting that \'would really be able to move\'. Most existing studies of Lynch, however, fail to engage fully with the complexities of his films\' relationship to other art forms. The Film Paintings of David Lynch fills this void, arguing that Lynch\'s cinematic output needs to be considered within a broad range of cultural references. Aimed at both Lynch fans and film studies specialists, Allister Mactaggart addresses Lynch\'s films from the perspective of the relationship between commercial film, avant-garde art, and cultural theory. Individual Lynch works - The Elephant Man, Blue Velvet, Twin Peaks, Lost Highway, The Straight Story, Mulholland Drive, and Inland Empire - are discussed in relation to other films and directors, illustrating that the solitary, or seemingly isolated, experience of film is itself socially, culturally, and politically important. The Film Paintings of David Lynch offers a unique perspective on an influential director, weaving together a range of theoretical approaches to Lynch\'s films to make exciting new connections among film theory, art history, psychoanalysis, and cinema.
Holdings
Item type Current library Call number Copy number Status Date due Barcode
Standard Loan LSAD Library Main Collection 791.43 LYN (Browse shelf(Opens below)) 1 Available 39002100560276

Enhanced descriptions from Syndetics:

One of the most distinguished filmmakers working today, David Lynch is a director whose vision of cinema is firmly rooted in fine art. He was motivated to make his first film as a student because he wanted a painting that "would really be able to move." Most existing studies of Lynch, however, fail to engage fully with the complexities of his films' relationship to other art forms. The Film Paintings of David Lynch fills this void, arguing that Lynch's cinematic output needs to be considered within a broad range of cultural references.

Aiming at both Lynch fans and film studies specialists, Allister Mactaggart addresses Lynch's films from the perspective of the relationship between commercial film, avant-garde art, and cultural theory. Individual Lynch films-- The Elephant Man , Blue Velvet , Twin Peaks , Lost Highway, The Straight Story , Mulholland Drive , Inland Empire --are discussed in relation to other films and directors, illustrating that the solitary, or seemingly isolated, experience of film is itself socially, culturally, and politically important. The Film Paintings of David Lynch offers a unique perspective on an influential director, weaving together a range of theoretical approaches to Lynch's films to make exciting new connections among film theory, art history, psychoanalysis, and cinema.

Includes bibliographical references and index.

Introduction: Towards a Palimpsest 1. Ever Died? -- Ever Failed? -- No Matter -- Die Again -- Fail Better -- Immanence and Transcendence In Twin Peaks (With Apologies To Samuel Beckett)2. Reasons to be Tearful: Snapshots of Lynchian Excess 3. Driven to Distraction: Hitching a Ride along the Lynchian Highway 4. Pierced by the Past: Filmic Trauma; Remembering and Forgetting 5. \'It is Happening Again\': Experiencing the Lynchian Uncanny 6. The Return of the Repressed: INLAND EMPIRE, DavidLynch.Com, and the Re-emergence of Film Painting -- Conclusion: Stitching up Lynch.

One of the most distinguished filmmakers working today, David Lynch is a director whose vision of cinema is firmly rooted in fine art. He was motivated to make his first film as a student because he wanted a painting that \'would really be able to move\'. Most existing studies of Lynch, however, fail to engage fully with the complexities of his films\' relationship to other art forms. The Film Paintings of David Lynch fills this void, arguing that Lynch\'s cinematic output needs to be considered within a broad range of cultural references. Aimed at both Lynch fans and film studies specialists, Allister Mactaggart addresses Lynch\'s films from the perspective of the relationship between commercial film, avant-garde art, and cultural theory. Individual Lynch works - The Elephant Man, Blue Velvet, Twin Peaks, Lost Highway, The Straight Story, Mulholland Drive, and Inland Empire - are discussed in relation to other films and directors, illustrating that the solitary, or seemingly isolated, experience of film is itself socially, culturally, and politically important. The Film Paintings of David Lynch offers a unique perspective on an influential director, weaving together a range of theoretical approaches to Lynch\'s films to make exciting new connections among film theory, art history, psychoanalysis, and cinema.

Table of contents provided by Syndetics

  • Acknowledgements (p. 7)
  • Introduction: Towards a Palimpsest (p. 9)
  • Chapter 1 Ever Died? Ever Failed? No Matter. Die Again. Fail Better. Immanence and Transcendence In Twin Peaks (With Apologies To Samuel Beckett) (p. 23)
  • Chapter 2 Reasons to be Tearful: Snapshots of Lynchian Excess (p. 47)
  • Chapter 3 Driven to Distraction: Hitching a Ride along the Lynchian Highway (p. 69)
  • Chapter 4 Pierced by the Past: Filmic Trauma; Remembering and Forgetting (p. 93)
  • Chapter 5 'It is Happening Again': Experiencing the Lynchian Uncanny (p. 115)
  • Chapter 6 The Return of the Repressed: INLAND EMPIRE, DavidLynch.Com, and the Re-emergence of Film Painting (p. 139)
  • Conclusion: Stitching up Lynch (p. 161)
  • Bibliography (p. 181)
  • Index (p. 197)

Author notes provided by Syndetics

Allister Mactaggart is a senior lecturer at the Directorate of Art and Design, Chesterfield College and an associate lecturer of Leeds Metropolitan University.

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