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Wyatt Moss-Wellington

al. 1990 ) and thus reified the effort of sensemaking in confounding cinema to explain why we find these works pleasurable; however, it is worth asking how radical these ambiguities really are. I turn to David Lynch as my primary case study, partially

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Edited by Stephen Prince

in the films of David Lynch, John Sayles, Ken Loach, and Richard Linklater and considers the ways that theorists and critics have dealt with such material in their analyses of these filmmakers. Few essays in the history of cinema have been so

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Robert Sinnerbrink and Matthew Cipa

through an analysis of David Lynch’s Inland Empire (2006). In concluding his discussion of this complex film, Buckland argues that “because the film contains numerous diegetic spaces, shows on screen the formation of those spaces, and links separate

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Disrupted PECMA Flows

A Cognitive Approach to the Experience of Narrative Complexity in Film

Veerle Ros and Miklós Kiss

causality of the plot to function. The ending of Lost Highway (David Lynch, 1997), where the protagonist rings his own doorbell and answers his own call from inside, is a classic example, as is the impossible character and plot doubling of Enemy (Denis

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Christopher Blake Evernden, Cynthia A. Freeland, Thomas Schatz, and Frank P. Tomasulo

incongruity, twist endings, and ambiguous resolutions. These films also provide pleasure, that is, the gratification of “mentally resolv[ing] plot information” (69). That may be why “we might feel in the mood for a David Lynch movie” (69). Chapter 4

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Jeff Smith, Dominic Topp, Jason Gendler, and Francesco Sticchi

puzzle films used as examples throughout the book (including Donnie Darko [Richard Kelly, 2001], Mulholland Drive [David Lynch, 2001], Triangle [Christopher Smith, 2009], Enemy [Denis Villeneuve, 2013], and Primer [Shane Carruth, 2004]), the

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Toward a Naturalized Aesthetics of Film Music

An Interdisciplinary Exploration of Intramusical and Extramusical Meaning

Timothy Justus

piece's appearance in the final minutes of The Elephant Man (David Lynch, 1980)—as previously discussed by Jeff Smith (1999) in relation to cognitivist and emotivist theories of music. 3 In this scene, we witness the death of John Merrick (John Hurt

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Jessica Bay, Alaina Schempp, Daniela Schlütz, and R. Colin Tait

own commendable work on the latest iteration of TV. Likewise, Dunleavy's discussion of the 1990s, and David Lynch's Twin Peaks (1990–1991) in particular, lays the groundwork for the discursive construction of the director as an auteur, even though

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Jens Eder

they have a lingering, all-enveloping feeling of menace after watching Eraserhead (David Lynch, 1977), this involves a sense of the possibility of inhabiting a world as it is expressed by the film. The central themes of many films consist in