COMPLEXITY IN DAVID LYNCH'S TELEVISUAL AND CINEMATOGRAPHIC WORKS
Keywords:
Complexidade Narrativa, Autorreferência, David Lynch, Twin PeaksAbstract
This study proposes to investigate self-referential aspects present in the cinematographic and television production of David Lynch, director often associated with the notion of narrative complexity. For that, the Twin Peaks series (ABC, 1990-91) and Twin Peaks, Fire Walk With Me (1992) were highlighted. Although they are of a different nature (televisual and cinematographic), such works comprise a single diegetic universe, establishing a relationship of complementation and narrative expansion. From a narratological analysis of these works, it is sought to contribute to the investigation of audiovisual narrative complexity, especially in its self-referential aspects and in its developments in the Lynchian poetic narrative.Downloads
References
ARISTÓTELES. Poética. Trad. Edson Bini. São Paulo: Edipro, 2011.
BEYLOT, Pierre. Le récit audiovisuel. Paris: Armand Colin, 2005.
BUCKLAND, Warren (ed). Puzzle films: complex storytelling in contemporary cinema. Nova York: John Wiley & Sons, 2009.
CAPANEMA, Letícia X. L. Autorreferencialidade Narrativa. Um estudo sobre estratégias de complexificação na ficção televisual. Tese de doutorado. São Paulo: PUC/SP, 2016.
CHATEAU, Dominique ; JOST, François. Nouveau cinéma, nouvelle sémiologie. Paris: Les Éditions 10/18, 1979.
CHINITA, Fatima. O espectador (in)visível. Reflexividade na óptica do espectador em INLAND EMPIRE de David Lynch. Covilhã : labcom, 2013.
CHION, Michel. David Lynch. Paris: Éditions de l’Étoile/Cahiers du Cinéma, 1992.
DÄLLENBACH, Lucien. Le Récit spéculaire. Essai sur la mise en abyme. Paris: Seuil, 1977.
ELSAESSER, Thomas. The Mind-Game Film. In: BUCKLAND, Warren (ed). Puzzle films: complex storytelling in contemporary cinema. Nova York: John Wiley & Sons, 2009, p. 13-41.
FELINTO, Erick. A Imagem Espectral. Comunicação, cinema e fantasmagoria tecnológica. Cotia, SP: Ateliê Editorial, 2008.
FERRARAZ, Rogério. O cinema limítrofe de David Lynch. 2003. Tese de Doutorado. Tese (doutorado em Comunicação Social), Pontifícia Universidade Católica de São Paulo, São Paulo.
FREUD, Sigmund. O estranho. In: Obras psicológicas completas de Sigmund Freud Rio de Janeiro: Imago, 1976, vol. XVII, p. 271-318.
GENETTE, Gérard. Figures III. Paris: Éditions du Seuil, 1972.
GIDE, André. Journal, 1889-1939. Paris: Gallimard, 1948. Bibliotheque de la Pleiade 54.
KISS, Miklós. Navigation in Complex Films. Real-life embodied experiences underlying narrative categorisation. In: ECKEL, Julia; LEIENDECKER, Bernd; OLEK, Daniela;
PIEPIORKA, Christine. (Dis)Orienting Media and Narrative Mazes. Bielefeld: Transcript, 2013.
MITTELL, Jason. Complexidade narrativa na Televisão americana contemporânea. Matrizes, ano 5, n.2, São Paulo, jan./jun. 2012.
MITTELL, Jason. Complex TV: the poetics of contemporary television storytelling. Nova York: NYU Press, 2015.
PIER, John; SCHAEFFER, Jean-Marie. Métalepses: Entorses au pacte de la représentation. Recherches d'histoire et de sciences sociales, 2005.
THIELLEMENT, Pacôme. La main Gauche de David Lynch.Press Universitaire de France (PUF), Paris, 2010.
THOMPSON, Kristin. Storytelling in Film and television. Cambridge/Massachusetts/Londres: Harvard University Press, 2003.
THOMPSON, Robert J. Television's Second Golden Age: From Hill Street Blues to ER: Hill Street Blues, Thirtysomething, St. Elsewhere, China Beach, Cagney & Lacey, Twin Peaks, Moonlighting, Northern Exposure, LA Law, Picket Fences, with Brief Reflections on Homicide, NYPD Blue & Chicago Hope, and Other Quality Dramas. Syracuse University Press, 1997.
TODOROV, Tzvetan. As estruturas narrativas. São Paulo: Perspectiva, 2013. Série Debates, vol. 14.
WOLF, Werner. Metareference across media: The concept, its transmedial potentials and problems, main forms and functions. In: Metareference across media: theory and case studies; dedicated to Walter Bernhart on the occasion of his retirement. Amsterdã: Rodopi, 2009.
Obras audiovisuais citadas
BLUE Velvet (Veludo Azul). Direção: David Lynch. Produção: Fred Caruso. De Laurentiis Entertainment Group, 1986.
ERASERHEAD. Direção: David Lynch. American Film Institute (AFI), Libra Films, 1977.
FIGHT Club (CLUBE da Luta). Direção: David Fincher. Produção: Art Linson, Ceán Chaffin, Ross Grayson Bell. 20th Century Fox, 1999.
INLAND Empire (Império dos Sonhos). Direção: David Lynch. Produção: Laura Dern, Mary Sweeney. Absurda, Studio Canal, Fundacja Kultury, Camerimage Festival, 2006.
HILL Street Blues. Criadores: Steven Bochco, Michael Kozoll. MTM Enterprises, 20th Century Fox Television. NBC, 1981-1987.
HOTEL Room. David Lynch, HBO (1993).
LA NUIT américaine (Noite Americana). Direção: François Truffaut,1973.
L’ANNÉE dernière à Marienbad (O Ano Passado em Marienbad). Direção: Alain Resnais. Roteiro e Diálogos: Alain Robbe-Grillet. Cocinor-Marceau, 1961.
LOST Highway (Estrada Perdida). Direção: David Lynch. Produção: Mary Sweeney, Tom Sternberg, Deepak Nayar. October Films, 1997.
MULHOLLAND Drive (Cidade dos Sonhos). Direção: David Lynch. Produção: Neal Edelstein, Tony Krantz, Michael Polaire, Alain Sarde, Mary Sweeney. Universal Pictures, 2001.
ON The Air. Criadores: Mark Frost, David Lynch, ABC (1992).
THE X-FILES (Arquivo X). Criador: Chris Carter. 20th Century Fox Television, 1993-2002.
TWIN Peaks. Criadores: Mark Frost, David Lynch. ABC, 1990-1991.
TWIN Peaks, Fire Walk With Me. Criadores: Mark Frost, David Lynch. 1992.
WILD at Heart (Coração Selvagem). Direção: David Lynch. PolyGram Filmed Entertainment, 1990.
Downloads
Published
How to Cite
Issue
Section
License
Authors who publish in this journal agree to the following terms:
a. Authors retain copyright and grant the journal the right of first publication, with the work simultaneously licensed under a Creative Commons Attribution License that allows sharing of the work with acknowledgment of authorship and initial publication in this journal.
b. Authors are authorized to assume additional contracts separately, for non-exclusive distribution of the version of the work published in this journal (eg, to publish in an institutional repository or as a book chapter), with acknowledgment of authorship and initial publication in this journal.
