One of the most distinguished filmmakers working today, David
Lynch is a director whose vision of cinema is firmly rooted in fine
art. He was motivated to make his first film as a student because
he wanted a painting that "would really be able to move." Most
existing studies of Lynch, however, fail to engage fully with the
complexities of his films' relationship to other art forms. "The
Film Paintings of David Lynch "fills this void, arguing that
Lynch's cinematic output needs to be considered within a broad
range of cultural references.
Aiming at both Lynch fans and film studies specialists, Allister
Mactaggart addresses Lynch's films from the perspective of the
relationship between commercial film, avant-garde art, and cultural
theory. Individual Lynch films--"The Elephant Man," "Blue Velvet,"
"Twin Peaks," "Lost Highway, The Straight Story," "Mulholland
Drive," "Inland Empire"--are discussed in relation to other films
and directors, illustrating that the solitary, or seemingly
isolated, experience of film is itself socially, culturally, and
politically important. "The Film Paintings of David Lynch "offers a
unique perspective on an influential director, weaving together a
range of theoretical approaches to Lynch's films to make exciting
new connections among film theory, art history, psychoanalysis, and
cinema.
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