The Impossible David Lynch Film and Culture PDF/EPUB

The Impossible David Lynch Film and Culture Does fantasy have an ethical dimension? This is the uestion Todd McGowan explores in The impossible David Lynch a psychoanalytic study of David Lynch and his film oeuvre In The impossible David Lynch McGowan challenges his reader to reconsider the ways identification functions in film McGowan writes “The great achievement of his Lynch films lies in their ability to break down the distance between spectator and screen Rather than permitting the imaginary proximity that dominates in mainstream cinema Lynch’s films implicate the spectator in their very structure The structure of a Lynch film alters the cinematic viewing situation itself and deprives the spectator of the underlying sense of remaining at a safe distance from what takes place on the screen” 2 Here McGowan challenges conventional interpretations of film especially those interpretations that prize an over investment in an incorrect understanding of identification Despite what we might think the latest Avengers movie for example fails to cultivate the sense of identification or proximity a Lynch film does even if it attempts to convince us otherwise According to McGowan most Hollywood films disavow what a Lynch film avows Conventional cinematic fantasy isn’t fantasy at all If anything it’s an “ideological supplement” that hides the trauma of the symbolic order By contrast Lynch’s films force audiences to confront the trauma of the symbolic order According to McGowan “If we escape at all in Lynch’s cinema we escape into the trauma that remains hidden but nonetheless structures the outside world” 24 We therefore escape into the trauma that defines us as subjects Therefore instead of obscuring either our desire or the Other’s desire fantasy in Lynch’s films lays bare those desires This I would argue is one way to comprehend the ethical dimensions of fantasy in The impossible David Lynch Fantasy constructs the conditions for desire to emerge or as McGowan argues “Desire does not exist prior to fantasy but emerges out of it” 18 This relationship is pertinent when thinking about Lynch because “He uses filmic fantasy to present desire in its immediacy and thereby allows us to see precisely how desire and fantasy interrelate” 18 But it is also worth contemplating what is “impossible” about Lynch’s films McGowan pivots from something Lacan says in Seminar XVII regarding the symbolic order and its inability to totalize our existence McGowan writes “Within every symbolic order the real occupies the place of what cannot be thought or imagined—the position of the impossible The real is not reality but the failure of the symbolic order to explain everything” 25 Thus to watch a David Lynch film is to expose oneself to the failures of ideology or as McGowan writes “They Lynch’s films thus provide a fundamental challenge to the ruling symbolic structure forcing us to see possibilities where we are used to see impossibilities” 25 The dominant symbolic order fights to persuade us of the impossibility of the impossible but this is precisely what Lynch’s cinematic fantasy reveals By creating the conditions for the possibility of the impossible ie the disruption of the symbolic order fantasy asserts the totality of its ethical dimension McGowan writes “Fantasy allows us to discover our freedom only when we cease regarding it as an escape from our reality and begin to see it as real than our reality” 223 The relationship between fantasy and desire is clearly visible once we take fantasy at its word once we see the power of the “fantastic beyond” once we play fantasy outLike all of McGowan’s books The impossible David Lynch is lucid and readable He expounds upon complex terminology in ways that teach readers about psychoanalysis while also developing an argument that pivot from psychoanalysis Reading the entire book is not necessary especially for readers unfamiliar with or disinterested in Lynch With that said the introduction and conclusion are worth reading and returning to From what I gather The impossible David Lynch is one of the few book length academic treatments of Lynch and to see it done from a psychoanalytical persuasion was extremely satisfying If you're a fan of David Lynch then you must read this book in a word it is a stunning piece of erudition and theoretical thinking The best academic book on Lynch yet to published I've read parts of this book in another form an article from a film journal and was extremely impressed with the author's interpretation of Mulholland Dr I can't wait to read further into it preemptive review as of page 100 or so a great exploration of lynch's work from a particular psychologicalphilosophical perspective chief observation desire vs fantasy desire for the impossible and fantasy achieving the impossible interesting reading thus far i'll probably edit this when i've completed the bookdone this was an immensely enjoyable read for me it’s not for everyone that’s for sure if you like in depth analysis and don’t mind spoilers for the films being dissected this MIGHT be for you there is a stress on the differences and prioritizations of desire and fantasy as to how it structures one’s reality it is informed by freud lacan hegel heidegger kant and I would recommend that you watch all of david lynch’s films prior to reading this book as it will make the reading that much enlighteninginteresting this is recommended reading for the die hard david lynch aficionado andor the film theorist with a psychoanalytical bent This is uite a tough journey at times the author prefers to write in an abstruse academic style that conceals meaning and this is a great shame because there are some potentially great insights here Even in relation to those most analysed of modern films Blue Velvet and Mulholland Drive there was plenty of penetrating and original materialThe insistence on a Lacanian psychoanalytic approach straitjackets some of the analyses unfortunately it did not lend itself to a deconstruction of Fire walk with me for example though a fundamental misunderstanding of some plot points might have been eually at fault It is also entirely possible that my own fairly limited grasp of Lacan has hampered my understanding of the materialDefinitely a worthwhile read and on a par with Martha Nochimson's The Passion Of David Lynch I would certainly be interested to read an updated version to include Inland Empire as that fits the desire versus fantasy polarity characteristic of Lynch's work as closely as all of the films discussed hereIt even made me want to give Dune another try This fulfilled the fun critical theory about auteur slot in my reading schedule nicely در هر فصل این کتاب که به فارسی با نام سینمای دیوید لینچ ترجمه شده است، فیلمهای این کارگردان هر کدام در فصلی جداگانه از دید روانشناختی بررسی شده استچیزی که در همه فیلمها جلوه دارد فانتزی در برابر میل است جهان فانتزی و ترومای موجود در فانتزی که لینچ توصیه به مواجهه با آن دارد ، مایه اصلی این فیلمهاست Todd McGowan launches a provocative exploration of weirdness and fantasy in David Lynch's groundbreaking oeuvre He studies Lynch's talent for blending the bizarre and the normal to emphasize the odd nature of normality itself Hollywood is often criticized for distorting reality and providing escapist fantasies but in Lynch's movies fantasy becomes a means through which the viewer is encouraged to build a revolutionary relationship with the worldConsidering the filmmaker's entire career McGowan examines Lynch's play with fantasy and traces the political cultural and existential impact of his uniue style Each chapter discusses the idea of impossibility in one of Lynch's films including the critically acclaimed Blue Velvet and The Elephant Man; the densely plotted Lost Highway and Mulholland Drive; the cult favorite Eraserhead; and the commercially unsuccessful Dune McGowan engages with theorists from the golden age of film studies Christian Metz Laura Mulvey and Jean Louis Baudry and with the thought of Sigmund Freud Jacues Lacan and Hegel By using Lynch's weirdness as a point of departure McGowan adds a new dimension to the field of auteur studies and reveals Lynch to be the source of a new and radical conception of fantasy

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