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Showing 1 - 4 of
4 matches in All Departments
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The Politics of Twin Peaks (Paperback)
Amanda DiPaolo, James Clark Gillies; Contributions by Shai Biderman, Amanda DiPaolo, Darci Doll, …
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R1,022
Discovery Miles 10 220
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Ships in 12 - 17 working days
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The strange and wonderful place of Twin Peaks captivated audiences
for more than two decades before its long-awaited return to
television in 2017. David Lynch and Mark Frost created a land that
embodies the politics of American culture. With its focus on
small-town America and life outside urban centers, rural and
suburban values play a big part in the overall Twin Peaks
narrative. More than just a soapy murder investigation or a
mysterious puzzle to be solved, Twin Peaks and Twin Peaks: The
Return are metaphors for the political years in which they are set.
The Politics of Twin Peaks investigates the show's engagement with
American politics and identity. With a close relationship between
the two, Twin Peaks is the rare cultural landmark in both film and
television whose timelessness is defined by the fact that it can
constantly be reinterpreted. Within that sometimes dreamlike
Lynchian narrative, Twin Peaks hints at, sometimes explicitly and
sometimes subtly, the political fault lines in the United States.
In this edited collection, the politics inherent in Twin Peaks is
approached from numerous points of view.
This book examines the intersection of trauma and the Gothic in six
contemporary British novels: Martin Amis's London Fields, Margaret
Drabble's The Gates of Ivory, Ian McEwan's Atonement, Pat Barker's
Regeneration and Double Vision, and Kazuo Ishiguro's Never Let Me
Go. In these works, the Gothic functions both as an expression of
societal violence at the turn of the twenty-first century and as a
response to the related crisis of representation brought about by
the contemporary individual's highly mediated and spectatorial
relationship to this violence. By locating these six novels within
the Gothic tradition, this work argues that each text, to borrow a
term from Jacques Derrida, "participates" in the Gothic in ways
that both uphold the paradigm of "unspeakability" that has come to
dominate much trauma fiction, as well as push its boundaries to
complicate how we think of the ethical relationship between
witnessing and writing trauma.
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The Politics of Twin Peaks (Hardcover)
Amanda DiPaolo, Jamie Gillies; Contributions by Shai Biderman, Amanda DiPaolo, Darci Doll, …
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R2,369
Discovery Miles 23 690
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Ships in 12 - 17 working days
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The strange and wonderful place of Twin Peaks captivated audiences
for more than two decades before its long-awaited return to
television in 2017. David Lynch and Mark Frost created a land that
embodies the politics of American culture. With its focus on
small-town America and life outside urban centers, rural and
suburban values play a big part in the overall Twin Peaks
narrative. More than just a soapy murder investigation or a
mysterious puzzle to be solved, Twin Peaks and Twin Peaks: The
Return are metaphors for the political years in which they are set.
The Politics of Twin Peaks investigates the show's engagement with
American politics and identity. With a close relationship between
the two, Twin Peaks is the rare cultural landmark in both film and
television whose timelessness is defined by the fact that it can
constantly be reinterpreted. Within that sometimes dreamlike
Lynchian narrative, Twin Peaks hints at, sometimes explicitly and
sometimes subtly, the political fault lines in the United States.
In this edited collection, the politics inherent in Twin Peaks is
approached from numerous points of view.
This book examines the intersection of trauma and the Gothic in six
contemporary British novels: Martin Amis's London Fields, Margaret
Drabble's The Gates of Ivory, Ian McEwan's Atonement, Pat Barker's
Regeneration and Double Vision, and Kazuo Ishiguro's Never Let Me
Go. In these works, the Gothic functions both as an expression of
societal violence at the turn of the twenty-first century and as a
response to the related crisis of representation brought about by
the contemporary individual's highly mediated and spectatorial
relationship to this violence. By locating these six novels within
the Gothic tradition, this work argues that each text, to borrow a
term from Jacques Derrida, "participates" in the Gothic in ways
that both uphold the paradigm of "unspeakability" that has come to
dominate much trauma fiction, as well as push its boundaries to
complicate how we think of the ethical relationship between
witnessing and writing trauma.
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