Anyone who has watched "Twin Peaks" or sat through the dark and
grainy world of "Eraserhead" knows that David Lynch's films pull us
into a strange world where reality turns upside down and sideways.
His films are carnivals that allow us to transcend our ordinary
lives and to reverse the meanings we live with in our daily lives.
Nowhere is this demonstrated better than in the opening scene of
"Blue Velvet" when our worlds are literally turned on their ears.
Lynch endlessly vacillates between Hollywood conventions and
avant-garde experimentation, placing viewers in the awkward
position of not knowing when the image is serious and when it's in
jest, when meaning is lucid or when it's lost. In this way, his
style places form and content in a perpetually self-consuming
dialogue. But what do Lynch's films have to do with religion?
Wilson attempts to answer that question in his book. To say that
irony (especially of the kind found in Lynch's films) generates
religious experience is to suggest religion can be founded on
nihilism. Moreover, in claiming Lynch's films are religious, one
must assume that extremely violent and lurid sexual films are
somehow expressions of energies of peace, tranquility and love.
Wilson illuminates not only Lynch's film but also the study of
religion and film by showing that the most profound cinematic
experiences of religion have very little to do with traditional
belief systems. His book offers fresh ways of connecting the
cinematic image to the sacred experience.
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