David Lynch:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English French |
| Veröffentlicht: |
London
British Film Inst.
1997
|
| Ausgabe: | Reprint. |
| Schlagworte: | |
| Online-Zugang: | Publisher description Inhaltsverzeichnis |
| Beschreibung: | Aus dem Franz. übers. |
| Beschreibung: | XII, 210 S. Ill. |
| ISBN: | 0851704573 0851704565 |
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Datensatz im Suchindex
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| adam_text |
CONTENTS
Foreword and Acknowledgments xi
CHRONO-LYNCH:
From Six Figures to Fire Walk with Me 1
I. A FILM THAT STAYS WITH YOU
(Six Figures, The Alphabet, The Grandmother, Eraserhead) 3
I. The author and the work. 2. Childhood and parents. 3. An ideal world?
First memories of the cinema. 4. First studies in painting. An express trip
to Europe. 5. From painting to film painting. Six Figures. 6. Philadelphias
mark. 7. The Alphabet. 8. The Grandmother. Deseription and analysis:
birth and parents. 9. The Grandmother (contd). Birth and death of the
grandmother. 10. Life as an electrical assembly. The film as a first essay in
cinematography. 11. Lynch and the AFI. 12. Lynch's favourite tihiis and
their supposed influences. Bergman, Fellini. 13. Favourite films (contd).
Kubrick, Hitchcock, Wilder. 14. From the project for Gardenback to
Eraserhead. Preparations for a feature film. 15. The story of Eraserhead.
16. The film's crew, actors and collaborators. 17. Shooting Eraserhead.
Montage. Sound recording. Alan Spiet. 18. The first screenings. Last¬
minute cuts. 19. Eraserhead becomes a cult film. Ben Barenholtz.
20. The cinematographic style of Eraserhead: archaism. 21. The sound
concept of the film. Continuity and discontinuity. 22. From The Grand¬
mother to Eraserhead: an impossible death?
II. IMMOBILE GROWTH
(The Elephant Man, Dune) 47
1. Lynch and Cornfeld. The Elephant Man project. Mel Brooks.
2. The historical John Merrick. The film adaptation. 3. Shooting and the
crew. Photography. Sound design. Music. 4. The Script of The Elephant
Man. 5. Social difference in The Elephant Man. 6. The actors.
7. Ritual theatre. Populär film. A film of faces. 8. The contribution of
English actors. A film left to make itself. 9. The director's image and
legend. 10. Propositions refused or without effeet: Lucas, Coppola.
II. Dune the novel and its originality: ecology, psychedelics and
onomastics. 12. Previous adaptation projects. Raffaella de Laurentiis.
13. Lynch's adaptation: obstacles and bold strokes. The religious theme.
The genetic theme. The role of women. An essay in non-linear narration.
The role of words. The 'generalised inner voice'. 14. Technical and
creative collaboration in Dune. 15. Casting Dune. 16. Shooting and its
problems. 17. Music and sound design. The film's reception. Its faults and
distinctive tone. 18. The waking dream of an 'elected' being.
19. A film-maker of the immobile.
III. WELCOME TO LYNCHTOWN
(Blue Velvet, The Cowboy and the Frenchman,
Twin Peaks) 83
1. Lynchtown, a base camp for the imagination. 2. Blue Velvet, an original
Script. 3. The film's actors: Kyle MacLachlan, Laura Dern, Isabella
Rossellini, Dennis Hopper. 4. Photography and Visual aims. Fred Elmes.
Angelo Badalamenti. Sound design. 5. The mysteries of the Script. Are
Sandy and Dorothy the same woman? Real and fantasised parents.
6. The 'primal scene' of Blue Velvet. The depressed mother. 'Be alive.
Do it for Van Gogh.' 7. Love letters from father to son. 8. Lynch's classic.
His expression of love. The forever scene. Daily life transformed.
9. The Cowboy and the Frenchman. 10. MarltFrost. The Twin Peaks
phenomenon. Different authors and directors. 11. Lynch and television.
12. The concept of the series. 13. Twin Peaks: the place. Who killed Laura
Palmer? 14. The characters of the series: are they all mad? Three catego-
ries. 15. An extraterrestrial being in Twin Peaks: Dale Cooper.
16. A mad world. An epic universe. The theme of comfort. A pool in the
heart of nature. 17. The role of citations. A recreation of romanticism.
18. Tears in Lynch. 19. Music as a unifying element. The vertical axis. The
register of murrauring. 20. The dead woman spoken about and the living
woman who is forgotten.
IV. CINE-SYMPHONIES FOR HER
(Wild at Heart, Industrial Symphony ISo. 1,
Twin Peaks: Fire Walk with Me) 121
1. Lynch's 'artistic method'. The power of ideas. The author as filter.
2. In search of 'cine-symphonic' cinema. The project for Wild at Heart.
3. Barry Gifford's novel. 4. Lynch's adaptation. The principle of contrast.
5. Casting the film. Couples. 6. Different versions. An aura of violence.
Visual style and sound design. Power and murmurs. Music. 7. The 'verbal
rape' scene. Violence and innocenee. Dream parents. 8. A film of child-
hood. Marietta. Cut-ins and gusts. A fragile ballad in the night.
9. Industriell Symphony No. 1. The Dream ofthe Broken Hearted. Julee
Cruise. 10. The projeet for Fire Walk with Me. Laura's past. 11. The film's
Script. 12. Twin Peaks in reverse. The theme of food. 13. Casting the film.
Sound design. Music. Photography. 14. The film's reeeption. Where did
the fire go? Putting one foot in front of the other. Surfaces and looming.
15. Return to The Grandmother. The unmythified woman. All-women-in-
one. The interval between parallel worlds. Heaven or hell.
16. The romantic film-maker of our times.
V. LYNCH-KIT. From Alphabet to Word 161
Presentation 161
Alphabet (aiphabet). Body (corps). Chair (siege). Close (pres). Cord
(corde) and Scissors (ciseaux). Curtain (rideau). Dark (noir). Dog (chien).
Dream (reve). Ear (oreille). Eclipse (eclipse). End (bout). Erasure (efface-
ment). Fenee (clöture). Floating (flotter). Flow (flux). For ever (eternel).
Garden (Jardin). Group (groupe). Growing (grandir). Hut (cabane). Insect
(insecte). Inside (dedans). Kit (feit). Link (lien). Log(6üc/ie). Lying
(couche). Night (nuit). Open mouth (ouverte [bouche]). Pool (flaque).
Power (puissance). Reaetion (reaction). Scale (echette). Setting (cadre).
Smoke (fumee). Speech (parole). Stage (scene). Standing (debout). Surfare
(surface). Texture (texture). Void (vide). Whole (tout). Wind (vent). Word
(mot).
VI. LYNCH-DOC 199
I. Filmography 199
II. Annotated Bibliography 207
A. Books and Dossiers 207
B. Essays and Reviews in Journals 208
C. Press Kits 209
D. Source Materials 209
E. About Twin Peaks 209
F. Additional Essays, Credits and Interviews 209 |
| adam_txt |
CONTENTS
Foreword and Acknowledgments xi
CHRONO-LYNCH:
From Six Figures to Fire Walk with Me 1
I. A FILM THAT STAYS WITH YOU
(Six Figures, The Alphabet, The Grandmother, Eraserhead) 3
I. The author and the work. 2. Childhood and parents. 3. An ideal world?
First memories of the cinema. 4. First studies in painting. An express trip
to Europe. 5. From painting to film painting. Six Figures. 6. Philadelphias
mark. 7. The Alphabet. 8. The Grandmother. Deseription and analysis:
birth and parents. 9. The Grandmother (contd). Birth and death of the
grandmother. 10. Life as an electrical assembly. The film as a first essay in
cinematography. 11. Lynch and the AFI. 12. Lynch's favourite tihiis and
their supposed influences. Bergman, Fellini. 13. Favourite films (contd).
Kubrick, Hitchcock, Wilder. 14. From the project for Gardenback to
Eraserhead. Preparations for a feature film. 15. The story of Eraserhead.
16. The film's crew, actors and collaborators. 17. Shooting Eraserhead.
Montage. Sound recording. Alan Spiet. 18. The first screenings. Last¬
minute cuts. 19. Eraserhead becomes a cult film. Ben Barenholtz.
20. The cinematographic style of Eraserhead: archaism. 21. The sound
concept of the film. Continuity and discontinuity. 22. From The Grand¬
mother to Eraserhead: an impossible death?
II. IMMOBILE GROWTH
(The Elephant Man, Dune) 47
1. Lynch and Cornfeld. The Elephant Man project. Mel Brooks.
2. The historical John Merrick. The film adaptation. 3. Shooting and the
crew. Photography. Sound design. Music. 4. The Script of The Elephant
Man. 5. Social difference in The Elephant Man. 6. The actors.
7. Ritual theatre. Populär film. A film of faces. 8. The contribution of
English actors. A film left to make itself. 9. The director's image and
legend. 10. Propositions refused or without effeet: Lucas, Coppola.
II. Dune the novel and its originality: ecology, psychedelics and
onomastics. 12. Previous adaptation projects. Raffaella de Laurentiis.
13. Lynch's adaptation: obstacles and bold strokes. The religious theme.
The genetic theme. The role of women. An essay in non-linear narration.
The role of words. The 'generalised inner voice'. 14. Technical and
creative collaboration in Dune. 15. Casting Dune. 16. Shooting and its
problems. 17. Music and sound design. The film's reception. Its faults and
distinctive tone. 18. The waking dream of an 'elected' being.
19. A film-maker of the immobile.
III. WELCOME TO LYNCHTOWN
(Blue Velvet, The Cowboy and the Frenchman,
Twin Peaks) 83
1. Lynchtown, a base camp for the imagination. 2. Blue Velvet, an original
Script. 3. The film's actors: Kyle MacLachlan, Laura Dern, Isabella
Rossellini, Dennis Hopper. 4. Photography and Visual aims. Fred Elmes.
Angelo Badalamenti. Sound design. 5. The mysteries of the Script. Are
Sandy and Dorothy the same woman? Real and fantasised parents.
6. The 'primal scene' of Blue Velvet. The depressed mother. 'Be alive.
Do it for Van Gogh.' 7. Love letters from father to son. 8. Lynch's classic.
His expression of love. The forever scene. Daily life transformed.
9. The Cowboy and the Frenchman. 10. MarltFrost. The Twin Peaks
phenomenon. Different authors and directors. 11. Lynch and television.
12. The concept of the series. 13. Twin Peaks: the place. Who killed Laura
Palmer? 14. The characters of the series: are they all mad? Three catego-
ries. 15. An extraterrestrial being in Twin Peaks: Dale Cooper.
16. A mad world. An epic universe. The theme of comfort. A pool in the
heart of nature. 17. The role of citations. A recreation of romanticism.
18. Tears in Lynch. 19. Music as a unifying element. The vertical axis. The
register of murrauring. 20. The dead woman spoken about and the living
woman who is forgotten.
IV. CINE-SYMPHONIES FOR HER
(Wild at Heart, Industrial Symphony ISo. 1,
Twin Peaks: Fire Walk with Me) 121
1. Lynch's 'artistic method'. The power of ideas. The author as filter.
2. In search of 'cine-symphonic' cinema. The project for Wild at Heart.
3. Barry Gifford's novel. 4. Lynch's adaptation. The principle of contrast.
5. Casting the film. Couples. 6. Different versions. An aura of violence.
Visual style and sound design. Power and murmurs. Music. 7. The 'verbal
rape' scene. Violence and innocenee. Dream parents. 8. A film of child-
hood. Marietta. Cut-ins and gusts. A fragile ballad in the night.
9. Industriell Symphony No. 1. The Dream ofthe Broken Hearted. Julee
Cruise. 10. The projeet for Fire Walk with Me. Laura's past. 11. The film's
Script. 12. Twin Peaks in reverse. The theme of food. 13. Casting the film.
Sound design. Music. Photography. 14. The film's reeeption. Where did
the fire go? Putting one foot in front of the other. Surfaces and looming.
15. Return to The Grandmother. The unmythified woman. All-women-in-
one. The interval between parallel worlds. Heaven or hell.
16. The romantic film-maker of our times.
V. LYNCH-KIT. From Alphabet to Word 161
Presentation 161
Alphabet (aiphabet). Body (corps). Chair (siege). Close (pres). Cord
(corde) and Scissors (ciseaux). Curtain (rideau). Dark (noir). Dog (chien).
Dream (reve). Ear (oreille). Eclipse (eclipse). End (bout). Erasure (efface-
ment). Fenee (clöture). Floating (flotter). Flow (flux). For ever (eternel).
Garden (Jardin). Group (groupe). Growing (grandir). Hut (cabane). Insect
(insecte). Inside (dedans). Kit (feit). Link (lien). Log(6üc/ie). Lying
(couche). Night (nuit). Open mouth (ouverte [bouche]). Pool (flaque).
Power (puissance). Reaetion (reaction). Scale (echette). Setting (cadre).
Smoke (fumee). Speech (parole). Stage (scene). Standing (debout). Surfare
(surface). Texture (texture). Void (vide). Whole (tout). Wind (vent). Word
(mot).
VI. LYNCH-DOC 199
I. Filmography 199
II. Annotated Bibliography 207
A. Books and Dossiers 207
B. Essays and Reviews in Journals 208
C. Press Kits 209
D. Source Materials 209
E. About Twin Peaks 209
F. Additional Essays, Credits and Interviews 209 |
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| index_date | 2024-07-02T22:32:59Z |
| indexdate | 2025-01-17T09:00:50Z |
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| spelling | Chion, Michel 1947- Verfasser (DE-588)122192478 aut David Lynch David Lynch Michel Chion Reprint. London British Film Inst. 1997 XII, 210 S. Ill. txt rdacontent n rdamedia nc rdacarrier Aus dem Franz. übers. Lynch, David, 1946- Lynch, David 1946-2025 (DE-588)119035316 gnd rswk-swf Motion picture producers and directors -- United States USA (DE-588)4006804-3 Biografie gnd-content (DE-588)4017102-4 Film gnd-content Lynch, David 1946-2025 (DE-588)119035316 p 1\p DE-604 http://www.loc.gov/catdir/description/ucal042/95214596.html Publisher description HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016841954&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
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| title | David Lynch |
| title_alt | David Lynch |
| title_auth | David Lynch |
| title_exact_search | David Lynch |
| title_exact_search_txtP | David Lynch |
| title_full | David Lynch Michel Chion |
| title_fullStr | David Lynch Michel Chion |
| title_full_unstemmed | David Lynch Michel Chion |
| title_short | David Lynch |
| title_sort | david lynch |
| topic | Lynch, David, 1946- Lynch, David 1946-2025 (DE-588)119035316 gnd Motion picture producers and directors -- United States |
| topic_facet | Lynch, David, 1946- Lynch, David 1946-2025 Motion picture producers and directors -- United States USA Biografie Film |
| url | http://www.loc.gov/catdir/description/ucal042/95214596.html http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016841954&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT chionmichel davidlynch |