000			03150nam a2200265 i 4500
003			MIUC
005			20190703125200.0
008			150205s2004 enka|||| |||| 001 | eng d
020			_a9781903364857
040			_aMIUC _beng _cMIUC
082	0		_a791.43
245	0	4	_aThe cinema of David Lynch : _bAmerican dreams, nightmare visions / _cedited by Erica Sheen and Annette Davison.
260			_aLondon ; _aNew York : _bWallflower Press, _cc2004.
300			_a207 p. : _bill. b&w ; _c24 cm.
490	1		_aDirectors' cuts
504			_aIncludes bibliographical references and index.
505	0	0	_tIntroduction: American dreams, nightmare visions / _rErica Sheen, Annette Davison -- _gCh. 1. _tThe essential evil in/of Eraserhead (or, Lynch to the contrary) / _rSteven Jay Schneider -- _gCh. 2. _tDavid Lynch and the mug shot: facework in The Elephant Man and The Straight Story / _rJoe Kember -- _gCh. 3. _tGoing into strange worlds: David Lynch, Dune and New Hollywood / _rErica Sheen -- _gCh. 4. _tMysteries of love: Lynch's Blue Velvet/Freud's Wolf-Man / _rSam Ishii-Gonzalez -- _gCh. 5. _tBlue Velvet underground: David Lynch's post-punk poetics / _rNicholas Rombes -- _gCh. 6. _tLaura and Twin Peaks: postmodern parody and the musical reconstruction of the absent female fatale / _rJohn Richardson -- _gCh. 7. _tTwin Peaks, weak language and the resurrection of affect / _rSheli Ayers -- _gCh. 8. _t"In dreams...": gender, sexuality and violence in the cinema of David Lynnch / _rJana Evans Braziel -- _gCh. 9. _t"Up in flames": love, control and collaboration in the soundtrack to Wild at Heart / _rAnnette Davison -- _gCh. 10. _tWeird or loopy? specular spaces, feedback and artifice in the Lost Highway's aesthetics of sensation / _rGreg Hainge. -- _gCh. 11. _tBeyond boundaries: David Lynch's Lost Highway / _rAnne Jerslev -- _gCh. 12. _t"All I need is the girl": the life and death of creativity in Mullholand Drive / _rMartha P. Nochimson.
520			_aDavid Lynch is an anomaly. A pioneer of the American 'indie' aesthetic, he also works in Hollywood and for network TV. He has created some of the most disturbing images in contemporary cinema, and produced startlingly innovative work in sound. If the consistency of his 'vision' suggests he might be approached as an auteur, defining that vision raises many questions. The essays in this collection push toward a fuller account of the cultural and technological contexts within which his works developed during the 1980s and 1990s, and of his intense engagement with the creative and working practices of the industry. They offer an up-to-date range of theoretically divergent readings that demonstrates not only the difficulty of locating stable interpretative positions for Lynch's work, but also the pleasure of finding new ways of thinking about it. Films discussed include Blue Velvet, Wild at Heart, The Straight Story, and Mulholland Drive.
600	1	0	_91615 _aLynch, David K., _d1946- _xCriticism and interpretation
650		0	_aMotion pictures _91638 _zUnited States
700	1		_4edt _91612 _aSheen, Erica
700	1		_4edt _91613 _aDavison, Annette, _d1971-
830		0	_91614 _aDirectors' cuts
942			_2ddc _cBK