David Lynch, Inland Empire, un cinéma de la folie et de la déterritorialisation

Chimères ◽  
2013 ◽  
Vol 80 (2) ◽  
pp. 200
Author(s):  
Jean-Claude Polack ◽  
Marco Candore
Keyword(s):  
David Lynch ◽  
Inland Empire

scholarly journals Labyrinths and Illusions in David Lynch’s Mulholland Drive and Inland Empire

2016 ◽  
Vol 5 (2) ◽  
pp. 168-188
Author(s):  
Ebrahim Barzegar
Keyword(s):  
David Lynch ◽  
Inland Empire ◽  
Award Winning ◽  
Mulholland Drive

David Lynch is known for its surrealistic and bizarre spectacles in his films in and out of America which puzzle and disturb the viewers and yet force them to ponder on the underlying mystery and meaning of them. Multilayered and disjointed narratives of his films strike most of the viewers to get lost in his magical world or Lynchland. In order to fully apprehend his convoluted cinematic narrative, this article aims at unfolding the different layers of his postmodern award-winning film, Mulholland Drive (2001) and INLAND EMPIRE (2006). To achieve this goal, Brian McHale’s thoughts and notions associated with postmodern fiction’s characteristic dealing with foregrounding ontological narratives are chosen and used in this research. It is conclude that Mulholland Drive’s and INLAND EMPIRE's embedded narratives function as a reflection of the primary narrative or diegetic leading to the construction of abysmal worlds.

scholarly journals A música pop em David Lynch: canções de época em longas-metragens do diretor

2020 ◽  
Vol 43 (2) ◽  
pp. 133-146
Author(s):  
Fabiano Pereira de Souza ◽  
Rogério Ferraraz
Keyword(s):  
David Lynch ◽  
Sound Design ◽  
Inland Empire ◽  
Twin Peaks ◽  
Lost Highway

Resumo Canções pop e de gêneros adjacentes dos anos 1950 e 1960 são um recurso que o diretor americano David Lynch passou a usar em seus filmes a partir de “Veludo azul” (Blue velvet, 1986) e chegou, de forma esporádica, à temporada de 2017 da série televisiva “Twin Peaks”. O objetivo deste artigo é avaliar se e o quanto tal prática reiterou nesses longas-metragens o contraste com as imagens alcançado no sound design de Alan Splet na filmografia de Lynch por meio dos efeitos sonoros, considerando-se ainda conexões desse uso com teorias do contemporâneo e da cultura pop. Para isso, são analisados os filmes “Veludo azul”, “Coração selvagem” (Wild at heart, 1990), “A estrada perdida” (Lost highway, 1997), “Cidade dos sonhos” (Mulholland Dr., 2001) e “Império dos sonhos” (Inland empire, 2006). Conclui-se que efeitos de sincronia e diacronia operam em simultaneidade, ressignificando e presentificando o passado dessas canções pop.

Le film hanté de David Lynch : Inland Empire

Ligeia ◽  
2018 ◽  
Vol N° 165-168 (2) ◽  
pp. 99
Author(s):  
Anaïs Cabart
Keyword(s):  
David Lynch ◽  
Inland Empire

David Lynch

2012 ◽  
Author(s):  
Justus Nieland
Keyword(s):  
Interior Design ◽  
Human Organism ◽  
David Lynch ◽  
Design History ◽  
Art Cinema ◽  
Inland Empire ◽  
Avant Garde ◽  
Mise En Scene ◽  
The Aesthetic ◽  
Architecture And Design

A key figure in the ongoing legacy of modern cinema, David Lynch designs environments for spectators, transporting them to inner worlds built by mood, texture, and uneasy artifice. We enter these famously cinematic interiors to be wrapped in plastic, the fundamental substance of Lynch's work. This volume revels in the weird dynamism of Lynch's plastic worlds. Exploring the range of modern design idioms that inform Lynch's films and signature mise-en-scène, the book argues that plastic is at once a key architectural and interior design dynamic in Lynch's films, an uncertain way of feeling essential to Lynch's art, and the prime matter of Lynch's strange picture of the human organism. The book offers striking new readings of Lynch's major works (Eraserhead, Blue Velvet, Wild at Heart, Mulholland Dr., Inland Empire) and his early experimental films, placing Lynch's experimentalism within the aesthetic traditions of modernism and the avant-garde; the genres of melodrama, film noir, and art cinema; architecture and design history; and contemporary debates about cinematic ontology in the wake of the digital. This inventive study argues that Lynch's plastic concept of life—supplemented by technology, media, and sensuous networks of an electric world—is more alive today than ever.

scholarly journals Inland Empire (David Lynch)

2007 ◽  
Vol 0 (84) ◽  
pp. 27
Author(s):  
Jesús Miguel Sáez-González
Keyword(s):  
David Lynch ◽  
Inland Empire

The Acousmatic Voice and Metaleptic Narration in Inland Empire

2013 ◽  
pp. 235-249
Author(s):  
Warren Buckland
Keyword(s):  
Decision Making ◽  
Digital Media ◽  
Decision Making Process ◽  
Visual Narrative ◽  
David Lynch ◽  
Inland Empire ◽  
Sound Image

This article appears in the Oxford Handbook of Sound and Image in Digital Media edited by Carol Vernallis, Amy Herzog, and John Richardson. This chapter develops a poetic perspective to analyze the unusual sound, image, and narrational structures of Inland Empire (David Lynch, 2006). A poetic perspective examines how a film is made (rather than trying to work out what it means). This chapter examines the decision-making process that has gone into the construction of the film’s complex aural and visual narrative world: specifically, the issue of how shots and scenes are joined in Inland Empire to create a complex ambiguous world of multiple intersecting layers.

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