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Justus Nieland

Print publication date: 2012

Print ISBN-13: 9780252036934

Published to Illinois Scholarship Online: April 2017

DOI: 10.5406/illinois/9780252036934.001.0001

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PRINTED FROM ILLINOIS SCHOLARSHIP ONLINE (www.illinois.universitypressscholarship.com). (c) Copyright Illinois University Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ISO for personal use.date: 20 October 2019

Wrapped in Plastic

Wrapped in Plastic

Chapter:
(p.1) Wrapped in Plastic
Source:
David Lynch
Author(s):

Justus Nieland

Publisher:
University of Illinois Press
DOI:10.5406/illinois/9780252036934.003.0001

This chapter presents a commentary on David Lynch's film career. It focuses on how plastic is the prime matter of his filmmaking, essential to his understanding of cinema. It takes up plasticity's capacity for infinite transformation as an architectural and design dynamic, a feature of mise-enscène, and a mode of fashioning and psychologizing cinematic space. It then explores the emotional registers of plasticity, attempting to explain a key affective paradox in Lynch's work: the way it seems both so manifestly insincere and so emotionally powerful, so impersonal and so intense. Finally, it considers Lynch's persistent tendency to think of forms of media and forms of life as related species. Here, plastic is useful for conceptualizing his picture of the human organism as malleable and heterogeneous. The films examined in this chapter include Eraserhead (1977), The Elephant Man (1980), and Lost Highway (1997).

Keywords:   David Lynch, filmmakers, film directors, plastic, interior design, plasticity, architecture, Eraserhead, The Elephant Man, Lost Highway

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