David Lynch / Edition 2

David Lynch / Edition 2

by Michel Chion

Twin Peaks, Blue Velvet, Wild at Heart and Eraserhead have turned David Lynch into an American cult figure. This lively book is a uniquely comprehensive account of the only director to have a smash hit TV series in the same year as winning the Golden Palm at Cannes.See more details below


Twin Peaks, Blue Velvet, Wild at Heart and Eraserhead have turned David Lynch into an American cult figure. This lively book is a uniquely comprehensive account of the only director to have a smash hit TV series in the same year as winning the Golden Palm at Cannes.

Product Details

BFI Publishing
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6.10(w) x 9.66(h) x 0.64(d)

Table of Contents

Foreword and Acknowledgments
Chrono-Lynch (From Six Figures to Fire Walk with Me)1
IA Film That Stays With You (Six Figures, The Alphabet, The Grandmother, Eraserhead)3
1The author and the work
2Childhood and parents
3An ideal world? First memories of the cinema
4First studies in painting. An express trip to Europe
5From painting to film painting. Six Figures
6Philadelphia's mark
7The Alphabet
8The Grandmother. Description and analysis: birth and parents
9The Grandmother (contd). Birth and death of the grandmother
10Life as an electrical assembly. The film as a first essay in cinematography
11Lynch and the AFI
12Lynch's favourite films and their supposed influences. Bergman, Fellini
13Favourite films (contd). Kubrick, Hitchcock, Wilder
14From the project for Gardenback to Eraserhead. Preparations for a feature film
15The story of Eraserhead
16The film's crew, actors and collaborators
17Shooting Eraserhead. Montage. Sound recording. Alan Splet
18The first screenings. Last-minute cuts
19Eraserhead becomes a cult film. Ben Barenholtz
20The cinematographic style of Eraserhead: archaism
21The sound concept of the film. Continuity and discontinuity
22From The Grandmother to Eraserhead: an impossible death?
IIImmobile Growth (The Elephant Man, Dune)45
1Lynch and Cornfeld. The Elephant Man project. Mel Brooks
2The historical John Merrick. The film adaptation
3Shooting and the crew. Photography. Sound design. Music
4The script of The Elephant Man
5Social difference in The Elephant Man
6The actors
7Ritual theatre. Popular film. A film of faces
8The contribution of English actors. A film left to make itself
9The director's image and legend
10Propositions refused or without effect: Lucas, Coppola
11Dune the novel and its originality: ecology, psychedelics and onomastics
12Previous adaptation projects. Raffaella de Laurentiis
13Lynch's adaptation: obstacles and bold strokes. The religious theme. The genetic theme. The role of women. An essay in non-linear narration. The role of words. The 'generalised inner voice'
14Technical and creative collaboration in Dune
15Casting Dune
16Shooting and its problems
17Music and sound design. The film's reception. Its faults and distinctive tone
18The waking dream of an 'elected' being
19A film-maker of the immobile
IIIWelcome to Lynchtown (Blue Velvet, The Cowboy and the Frenchman, Twin Peaks)78
1Lynchtown, a base camp for the imagination
2Blue Velvet, an original script
3The film's actors: Kyle MacLachlan, Laura Dern, Isabella Rossellini, Dennis Hopper
4Photography and visual aims. Fred Elmes. Angelo Badalamenti. Sound design
5The mysteries of the script. Are Sandy and Dorothy the same woman? Real and fantasised parents
6The 'primal scene' of Blue Velvet. The depressed mother. 'Be alive. Do it for Van Gogh.'
7Love letters from father to son
8Lynch's classic. His expression of love. The forever scene. Daily life transformed
9The Cowboy and the Frenchman
10Mark Frost. The Twin Peaks phenomenon. Different authors and directors
11Lynch and television
12The concept of the series
13Twin Peaks: the place. Who killed Laura Palmer?
14The characters of the series: are they all mad? Three categories
15An extraterrestrial being in Twin Peaks: Dale Cooper
16A mad world. An epic universe. The theme of comfort. A pool in the heart of nature
17The role of citations. A recreation of romanticism
18Tears in Lynch
19Music as a unifying element. The vertical axis. The register of murmuring
20The dead woman spoken about and the living woman who is forgotten.
IVCine-Symphonies for Her (Wild at Heart, Industrial Symphony No. 1, Twin Peaks: Fire Walk with Me)114
1Lynch's 'artistic method'. The power of ideas. The author as filter
2In search of 'cine-symphonic' cinema. The project for Wild at Heart
3Barry Gifford's novel
4Lynch's adaptation. The principle of contrast
5Casting the film. Couples
6Different versions. An aura of violence. Visual style and sound design. Power and murmurs. Music
7The 'verbal rape' scence. Violene and innocence. Dream parents
8A film of childhood. Marietta. Cut-ins and gusts. A fragile ballad in the night
9Industrial Symphony No. 1. The Dream of the Broken Hearted. Julee Cruise
10The project for Fire Walk with Me. Laura's past
11The film's script
12Twin Peaks in reverse. The theme of food
13Casting the film. Sound design. Music. Photography
14The film's reception. Where did the fire go? Putting one foot in front of the other. Surfaces and looming
15Return to The Grandmother. The unmythified woman. All-women-in-one. The interval between parallel worlds. Heaven or hell
16The romantic film-maker of our times
Lynch-Kit (From Alphabet to Word)151
Alphabet (alphabet)
Body (corps)
Chair (siege)
Close (pres)
Cord (corde) and Scissors (ciseaux)
Curtain (rideau)
Dark (noir)
Dog (chien)
Dream (reve)
Ear (oreille)
Eclipse (eclipse)
End (bout)
Erasure (effacement)
Fence (cloture)
Floating (flotter)
Flow (flux)
For ever (eternel)
Garden (jardin)
Group (groupe)
Growing (grandir)
Hut (cabane)
Insect (insecte)
Inside (dedans)
Kit (kit)
Link (lien)
Log (buche)
Lying (couche)
Night (nuit)
Open mouth (ouverte [bouche])
Pool (flaque)
Power (puissance)
Reaction (reaction)
Scale (echelle)
Setting (cadre)
Smoke (fumee)
Speech (parole)
Stage (scene)
Standing (debout)
Surface (surface)
Texture (texture)
Void (vide)
Whole (tout)
Wind (vent)
Word (mot)
Bridge-Man (On the Air, Hotel Room, Lost Highway, The Straight Story, Mulholland Dr.)189
IIAnnotated Bibliography237

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