This book distinguishes itself from earlier books on David Lynch by taking in-depth consideration of his entire oeuvre. Besides his films and the Twin Peaks series, David Lynch: Blurred Boundaries includes discussions of Lynch's paintings and drawings, music videos, commercials, short experimental works, digital projects on the YouTube channel David Lynch Theater and the Internet documentary The Interview Project, as well as the exhibition The Air is on Fire, which Jerslev regards as one of Lynch's main works. David Lynch: Blurred Boundaries offers a view of Lynch's total work, in which one medium or genre is no more important than the other. It discusses the ways in which Lynch has worked throughout his career with different art forms and has right from the start experimented with the blurring of boundaries between media and genres. And it discusses ways Lynch creates atmospheres by different audio-visual and visual means.

Andre Bazin's famous article, 'Pour un cinema impur: defense de l'adaptation', was first translated into English simply as 'In Defence of Mixed Cinema', probably to avoid any uncomfortable sexual or racial resonances the word 'impure' might have. Impure Cinema goes back to Bazin's original title precisely for its defense of impurity, applying it on the one hand to cinema's interbreeding with other arts and on the other to its ability to convey and promote cultural diversity. In contemporary progressive film criticism, ideas of purity, essence and origin have been superseded by favorable approaches to 'hybridization', 'transnationalism', 'multiculturalism' and cross-fertilizations of all sorts. Impure Cinema builds on this idea in novel and exciting ways, as it draws on cinema's combination of intermedial and intercultural aspects as a means to bridge the divide between studies of aesthetics and culture. Film is revealed here as the location par excellence of media encounters, mutual questioning and self-dissolution into post-medium experiments. Most importantly, the book argues, film's intermedial relations can only be properly understood if their cultural determinants are taken into account. Scholars and students of film, cinefiles and students of the arts will discover here unexpected connections across many artistic practices.

This book distinguishes itself from earlier books on David Lynch by taking in-depth consideration of his entire oeuvre. Besides his films and the Twin Peaks series, David Lynch: Blurred Boundaries includes discussions of Lynch's paintings and drawings, music videos, commercials, short experimental works, digital projects on the YouTube channel David Lynch Theater and the Internet documentary The Interview Project, as well as the exhibition The Air is on Fire, which Jerslev regards as one of Lynch's main works. David Lynch: Blurred Boundaries offers a view of Lynch's total work, in which one medium or genre is no more important than the other. It discusses the ways in which Lynch has worked throughout his career with different art forms and has right from the start experimented with the blurring of boundaries between media and genres. And it discusses ways Lynch creates atmospheres by different audio-visual and visual means.

Andre Bazin's famous article, 'Pour un cinema impur: defense de l'adaptation', was first translated into English simply as 'In Defence of Mixed Cinema', probably to avoid any uncomfortable sexual or racial resonances the word 'impure' might have. 'Impure Cinema' goes back to Bazin's original title precisely for its defence of impurity, applying it on the one hand to cinema's interbreeding with other arts and on the other to its ability to convey and promote cultural diversity. In contemporary progressive film criticism, ideas of purity, essence and origin have been superseded by favourable approaches to 'hybridization', 'transnationalism', 'multiculturalism' and cross-fertilizations of all sorts. 'Impure Cinema' builds on this idea in novel and exciting ways, as it draws on cinema's combination of intermedial and intercultural aspects as a means to bridge the divide between studies of aesthetics and culture. Film is revealed here as the location par excellence of media encounters, mutual questioning and self-dissolution into post-medium experiments. Most importantly, the book argues, film's intermedial relations can only be properly understood if their cultural determinants are taken into account. Scholars and students of film, cinephiles and students of the arts will discover here unexpected connections across many artistic practices.

New forms of art, culture and theory have recently emerged through engagements with the realities of the social world and everyday life, which are not primarily about representation but rather about participation and narration. These new forms are based on viewer responses and engagement, thus performatively creating open-ended situations rather than autonomous works with closure. Performative theory, drawing mostly on studies of speech acts, proves adequate to describe and analyse these new forms of art and culture and their engagement with the real. This book scrutinises a range of contemporary works that experiment with viewer participation and processuality within art and culture, as well as it takes issue with theories of performativity and performance. 'Performative Realism' contains contributions from leading Danish scholars working within a broad range of academic fields such as Media Studies, Art History, Theatre Studies and Cultural Studies. The issues addressed covers Scandinavian as well as international installation art, performance art, theatre, photography, movies, literature and role-playing.