David Lynch / Michel Chion ; translated by Robert Julian ; 'Bridge-man' translated by Trista Selous.

Format:

• Book

Author/Creator:

• Chion, Michel, 1947-

Language:

• English
• French

Subjects (All):

• Lynch, David, 1946-2025--Criticism and interpretation.
• Lynch, David, 1946-.
• Motion picture producers and directors--United States--Biography.
• Motion picture producers and directors.
• Criticism and interpretation.
• United States.

Genre:

• Biographies.

Physical Description:

ix, 246 pages : illustrations ; 24 cm

Edition:

Second edition.

Place of Publication:

London : BFI, 2006.

Language Note:

Translated from the French.

Summary:

Michel Chion's study of the film and television work of David Lynch has become, since its first English publication in 1995, the definitive book on one of America's finest contemporary directors. In this new edition Chion brings the book up-to-date to take into account Lynch's work in the past ten years, including the major features "Lost Highway, The Straight Story, and "Mulholland Drive. Newly redesigned and re-illustrated, "David Lynch is an indispensable companion.

Contents:

• 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
• 1 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 Philadelphia's mark
• 7 The Alphabet
• 8 The Grandmother. Description 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 films 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 Splet.
• 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 Grandmother to Eraserhead: an impossible death?
• II Immobile Growth (The Elephant Man, Dune) 45
• 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. Popular 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 effect: Lucas, Coppola
• 11 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) 78
• 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 Mark Frost. 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 categories
• 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 murmuring
• 20 The dead woman spoken about and the living woman who is forgotten
• IV Cine-Symphonies for Her (Wild at Heart, Industrial Symphony No. 1, Twin Peaks: Fire Walk with Me) 114
• 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 innocence. Dream parents.
• 8 A film of childhood. Marietta. Cut-ins and gusts. A fragile ballad in the night
• 9 Industrial Symphony No. 1. The Dream of the Broken Hearted. Julee Cruise
• 10 The project 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 reception. 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
• Lynch-Kit (From Alphabet to Word) 151
• Alphabet (alphabet)
• 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 (effacement)
• Fence (cloture)
• Floating (flotter)
• Flow (flux)
• For ever (eternel)
• Garden (jardin)
• Group (groupe)
• Growing (grandir)
• Hut (cabane)
• Insect (insecte)
• Inside (dedans)
• Kit (kit)
• Link (lien)
• Log (buche)
• Lying (couche)
• Night (nuit)
• Open mouth (ouverte [bouche])
• Pool (flaque)
• Power (puissance)
• Reaction (reaction)
• Scale (echelle)
• Setting (cadre)
• Smoke (fumee)
• Speech (parole)
• Stage (scene)
• Standing (debout)
• Surface (surface)
• Texture (texture)
• Void (vide)
• Whole (tout)
• Wind (vent)
• Word (mot)
• Bridge-Man (On the Air, Hotel Room, Lost Highway, The Straight Story, Mulholland Dr.) 189
• Lynch-Doc.

Notes:

• Previous ed.: 1995.
• Includes filmography (pages [225]-236), bibliographical references (pages [237]-239) and index.

ISBN:

• 1844570630
• 1844570304

OCLC:

68762420