scholarly journals Comment Hollywood figure l’intériorité dans les films « hollywoodiens » de David Lynch, Lost Highway (1997), Mulholland Dr. (2001) et Inland Empire (2006)

E-rea ◽  
2011 ◽  
Author(s):  
David ROCHE
Keyword(s):  
David Lynch ◽  
Inland Empire ◽  
Lost Highway

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.

Review: Lost Highway by David Lynch, Deepak Nayar, Tom Sternberg, Mary Sweeney

1998 ◽  
Vol 51 (3) ◽  
pp. 57-61
Author(s):  
Eric Bryant Rhodes
Keyword(s):  
David Lynch ◽  
Lost Highway

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.

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
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