For a Baroque Aesthetic, A study of the Films of David Lynch
par Michael Cutaya
National College of Arts and Design, Dublin - Master of Arts in the History of Arts and Design 2004
Thesis submitted for the
The Faculty of History of Art and Design and Complementary Studies
A Recognised College of the National University of Ireland
The Research has been supervised by:
Dr Brenda Moore McCann
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.
List of Illustrations 4
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
Appendix: The Eye-of-the-Duck 148
Selected Filmography of David Lynch 149
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.
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.