Titlebook: Critical Essays on Twin Peaks: The Return; Antonio Sanna Book 2019 The Editor(s) (if applicable) and The Author(s), under exclusive licens

符合你规定

Resign

指令

Movement in the Box: The Production of Surreal Social Space and the Alienated Bodyres, isolated, and alienated from each other and from themselves, trapped behind a screen and within a society where life and art blur. The box is a portal through which we access the show and our own lives.

小官

Kafka’s Crime Film: , and the Brotherhood of Lynch and Kafkaes the shared thematics of Lynch and Kafka, and how each artist creates works that question the stability of perception, the absurdity of life, and alienation and metamorphosis, in both a literal and figurative sense.

挖掘

fastness

嬉耍

How Mark Frost’s , Books Clarify and Confound the Nature of Realityve of ., especially its eighth episode and final few episodes. . adds to .’s world, but shows how, no matter how large the narrative grows or how abstract it can become, the rape and murder of Laura Palmer is the driving force behind ., an event that cannot be escaped or forgotten.

抛射物

Who Is the Dreamer?moment. But can dreams truly help us to unravel this vast, enigmatic story? While some, such as Jane Douglas and Siobhan Lyons, caution us about using dream theory to analyze David Lynch’s work, dreams nevertheless offer a useful way of unraveling the complex nature of ..

CANDY

U. Heisel,V. Maier,F. Ziegler,M. Gringelon the series’ multiple thematic concerns and visual aspects. The introduction simultaneously examines the works of the series’ creators, David Lynch and Mark Frost, reconstructing their careers up to the present time.

毕业典礼

Gesundheits- und Wohlfahrtseinrichtungen,istory rising in the years between Seasons Two and Three, both diegetic and off-screen. By treating the impossibility of history through this concept of the ‘return,’ the chapter brings together the insights of psychoanalytically oriented literature on . with the literature focused on televisual narrative and postmodernity.