David Lynch, Embodiment and Mediality: Dealing With a Human Form

IF 0.4 3区 艺术学 0 FILM, RADIO, TELEVISION
Benedict Welch
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引用次数: 0

Abstract

This article considers the role of disembodiment in the visual art and films of David Lynch. This line of inquiry, I argue, allows us to consider the ways scholars do and do not conceptualise the relationship between Lynch’s works of different mediums. Specifically, I pursue the conviction that Lynch’s preoccupation with an injured or fragmented body corresponds to his intermedial creative practice. I turn my attention to Lynch’s early short film The Alphabet (1968) which exemplifies how the violence inflicted on the body represents the violence wreaked by the separation of art into different media. Using Jacques Rancière’s definition of mediality and his idea of the sensorium, I offer a new perspective on the questions of disembodiment that manifest in tricky and unpredictable bodies in Lynch’s work and thus on how we should read Lynch’s output as joined up across mediums. 1
大卫·林奇,《化身与媒介:处理人类形态》
本文探讨了“无实体”在大卫·林奇的视觉艺术和电影中的作用。我认为,这种研究思路使我们能够考虑学者们对林奇不同媒介作品之间的关系进行概念化和不进行概念化的方式。具体来说,我坚信林奇对受伤或支离破碎的身体的专注与他的中间创造性实践是一致的。我把注意力转向林奇早期的短片《字母表》(1968),该片展示了对身体施加的暴力是如何代表艺术在不同媒体中分离所造成的暴力的。利用雅克·兰齐埃对媒介性的定义和他对感官的概念,我对林奇作品中棘手和不可预测的身体中表现出的无实体性问题,以及我们应该如何将林奇的作品解读为跨媒介的结合,提供了一个新的视角。1.
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Film-Philosophy
Film-Philosophy Multiple-
CiteScore
0.40
自引率
0.00%
发文量
30
审稿时长
52 weeks
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