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For a Baroque Aesthetic, A study of the Films of David Lynch

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par Michael Cutaya
National College of Arts and Design, Dublin - Master of Arts in the History of Arts and Design 2004
  

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Michaële CUTAYA

Thesis submitted for the

Master of Arts in the History of Art and Design

The Faculty of History of Art and Design and Complementary Studies

The National College of Art and Design

A Recognised College of the National University of Ireland

The Research has been supervised by:

Dr Brenda Moore McCann

Valerie Connor

September 2004

DECLARATION

I declare that this thesis has not been submitted as an exercise for a degree at any other college or university.

I declare that it is entirely my own work.

I agree that the library may lend or copy the thesis upon request from the date of deposit of the thesis.

September 2004

CONTENTS

List of Illustrations 4

Acknowledgments 5

Introduction 6

Chapter I: Narrative Continuities 25

Chapter II: The Shot of Ambiguity 47

Chapter III: The Montage of Confusion 74

Chapter IV: The Texture of Film 100

Chapter V: The Dark Depths 123

Conclusion 142

Appendix: The Eye-of-the-Duck 148

Selected Filmography of David Lynch 149

Filmography 153

Bibliography 154

LIST OF ILLUSTRATIONS

Fig. 1 The Spatial Relationships of the Characters, series of stills from Blue Velvet.

Fig. 2 Tensions in the House, series of stills from Lost Highway.

Fig. 3 The Confrontation of Local and Federal Authority, series of stills from

the pilot episode of Twin Peaks.

Fig. 4 The Aerial Sense of Presence, series of stills from The Straight Story.

Fig. 5 Threat Over Los Angeles, series of stills from Mulholland Drive.

Fig. 6 Following Betty and Rita Inside, series of stills from Mulholland Drive.

Fig. 7 From Fred To Pete, series of stills from Lost Highway.

Fig. 8 «Hey Pretty Girl Time to Wake up», series of stills from Mulholland Drive.

Fig. 9 The Projective Powers of the Telephone, series of stills from Lost Highway.

Fig. 10 The Difficult Coming to the Light, series of stills from Lost Highway.

Fig. 11 Going In and Out of the Darkness, series of stills from Lost Highway.

Fig. 12 From the Darkness Emerges the Marvellous, series of stills from Eraserhead and Blue Velvet.

ACKNOWLEDGMENTS

I am thankful to Brenda Moore McCann and Valerie Connor for their patient and supportive supervising. I also would like to thank for their help: Fergus Daly, Florence Brument, Gavin Murphy and the staff of the National College of Art and Design. And very special thanks to Philippe, Léa and Willem.

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