A new film series asks: Is there such a thing as a "female gaze" in movies? The perspective by which women are often seen, sexualized and objectified by men — consciously or not — in Hollywood films is known as the "male gaze," a term Laura Mulvey coined in a famous essay. Movies, where men are so often behind the camera, inevitably render women a certain way.
An October Films release. Lost Highway is set in Los Angeles and the desertish terrain immediately inland from it. I rarely got closer than five feet away from him and never talked to him.
You should probably know this up front. This may sound like PR bullshit, but it turns out to be true, e. This is on 8 January in L. So my first and generally representative sight of Lynch is from the back, and understandably from a distance.
What movie people on location sets call the trailer that houses the bathrooms: Lynch and radical mastectomy Had for a few years a comic strip, The Angriest Dog in the World, that appeared in a handful of weekly papers, and of which Matt Greening and Bill Griffith were reportedly big fans.
Has had a bunch of gallery shows of his abstract expressionist paintings. The former object of a Time cover story in became the object of a withering ad hominem backlash.
For me, though, a more interesting question ended up being whether David Lynch really gives a shit about whether his reputation is rehabilitated or not.
This attitude-like Lynch himself, like his work-seems to me to be both grandly admirable and sort of nuts. He makes his own choices about what he wants. In some ways it seems that Lynch was miscast as its director: Eraserhead had been one of those sell-your-own-plasma-to-buy-the-film-stock masterpieces, with a tiny and largely unpaid cast and crew.
Dune, on the other hand, had one of the biggest budgets in Hollywood history, and its production staff was the size of a Caribbean nation, and the movie involved lavish and cuttingedge special effects.
The experience could easily have turned Lynch into an embittered hack, doing effects-intensive gorefests for commercial studios.
The experience did neither. Lynch both hung in and, on some level probably, gave up. Dune convinced him of something that all the really interesting independent filmmakers-the Coen brothers, Jane Campion, Jim Jarmusch-seem to steer by.
For Blue Velvet, De Laurentiis offered Lynch a tiny budget and an absurdly low directorial fee, but percent control over the film.
Lynch not only wrote and directed Blue Velvet, he had a huge hand in almost every aspect of the film, even coauthoring songs on the soundtrack with Badalamenti.
Blue Velvet was, again, in its visual intimacy and sure touch, a distinctively homemade film the home being, again, D. While the creepy-video thing is under way, there are also some scenes of Bill Pullman looking very natty and East Village in all black and jamming on his tenor sax in front of a packed dance floor only in a David Lynch movie would people dance ecstatically to abstract jazzand some scenes of Patricia Arquette seeming restless and unhappy in a kind of narcotized, disassociated way, and generally being creepy and mysterious and making it clear that she has a kind of double life involving decadent, lounge-lizardy men.An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film.
In the film The “Sixth Sense” Malcolm Crowe is shot by an ex-patient because the ex-patient believes that Malcolm had failed to help accomplish their mental disturbance.
After Malcolm is killed the director of the film moves the death scene a year on after the shooting and shows Malcolm sitting on . Remove the high-modernist sense of mission and we can see this same dynamic as animating the essay film – recall that last, parenthetical term in Gorin’s formulation of the essay film, “multiply[ing] the entries and the exits into the material it has elected (or by which it has been elected)”.
With rucksack, naturally. An extended four-minute shot has him doing exactly this all the way through the Harvard campus, before he lands finally where he belongs, the only place he’s truly comfortable, in front of his laptop, with his blog.
Hi David, great and generous analysis of film set dynamics here. I have read through this a few times, and the part where you describe giving Winona a look she likely hadn’t experienced “this side of dinner theater” gets me every time.
Film criticism matters! Shout it from the rooftops. That said, there seems to be a common misconception about what film criticism even is.
An informative new film criticism video essay attempts to.