Week 10 Flashcards
How does Southbound (2015) represent guilt?
Through “personified” monsters that physically manifest the characters’ guilt and punishment
What narrative technique does Southbound (2015) use that relates to anti-redemption?
Repetition - characters are trapped in closed loops with no escape, representing anti-redemption
What Lynchian elements appear in Southbound (2015)?
Weird uncanny vignettes, semi-human figures, sparse dialogue, diner settings, and monsters representing inner guilt
How does repetition function thematically in Southbound (2015)?
As anti-redemption - characters cannot escape their fate and are forced to repeatedly confront their guilt
What happens to the characters in Southbound (2015) that demonstrates the “no escape” theme?
They keep returning to the same locations (especially the diner) in an endless loop, unable to escape their fate
What is the Uncanny Valley phenomenon and who first described it?
A phenomenon where almost-human entities create discomfort/unease in viewers
- First described by Masahiro Mori in 1970
What examples fall into the Uncanny Valley?
Zombies, corpses, and human-like robots that appear almost but not quite human
How does the Uncanny Valley relate to the question of humanity?
t raises questions about what is human-proximate versus truly human, blurring lines between humans, machines, and monsters
How does David Lynch use the uncanny in his films?
He creates situations where something feels “a little off,” making viewers uncomfortable because they can’t define where human ends and monster begins
How does the blurred line between humanlike monsters and monsterlike humans challenge our definitions?
It challenges our definitions of creation, revelation, and redemption by questioning what constitutes humanity
What is a “liminal dreamspace” in film according to the course?
A space that invites viewers into a realm of fantasy, horror, whim, and absurdity, blurring the boundaries between reality and dreams
How does religious interruption conventionally occur, and what alternative does Lynch explore?
Conventionally through a “higher world” breaking through into ours. Lynch explores the alternative of an “inner world” breaking through instead
What question does Lynch pose when “the monster walks in”?
“It’s not me…or, is it?” - questioning whether the monster represents something external or is a manifestation of the self.
How does Lynch use dreams in films like Mulholland Drive?
As deeply experiential settings that don’t follow logical rules, allowing for exploration of the unconscious and blurring the line between reality and fantasy
What is Lynch’s perspective on nightmares in Mulholland Drive?
He suggests either “nightmares are real” or “nightmares are very informative” - positioning them as either reality itself or revelatory of deeper truths
What function does Winkie’s diner serve in Mulholland Drive?
It serves as an intermediary space where dreamworld and real world converge, a place of revelation and possibly anti-redemption
Which seven deadly sins are represented in the Winkie’s diner scene?
ride, Avarice (greed), Gluttony, Lust, Wrath (anger), Envy, and Sloth - with Sloth being described as the most insidious as it leads to apathy about the other sins
What is an “interpretive key” in film analysis?
A concept, framework, or lens used to unlock the meaning of a text, event, or phenomenon, providing a guiding principle for understanding complex material and uncovering deeper insights
What is anamorphosis and how does it apply to Lynch’s filmmaking?
- Anamorphosis requires a perspectival shift, a lens, or a vantage point to properly see an image
- In Lynch’s films, understanding depends on where you are in the narrative and may change with repeat viewings.
How does Lynch use recurring imagery (like the bull skull)?
Lynch uses recurring imagery as visual motifs that gain meaning through repetition, serving as symbols that connect different parts of the narrative and prompt viewers to reconsider earlier scenes
What is the significance of the Cowboy appearing multiple times in Mulholland Drive?
he Cowboy appears three times, indicating something bad has happened. His appearances serve as an interpretive key in the film, representing authority and establishing rules within Diane’s dream world.
What is the meaning of the Cowboy’s line “Hey pretty girl! Time to wake up!”?
This line signals that Diane is about to wake up from her long dream. Some interpret this as the moment she shoots herself, while others see it as a call for her to face reality again after being lost in her dream state.
What does the Cowboy represent in terms of the film’s structure?
The Cowboy represents a source of ceremony, pedigree, and teaching. He establishes rules and order in the dreamworld, appearing in a high place above Los Angeles in an artificial setting that contrasts with Club Silencio.
How does the Cowboy function as an “interpretive key” in the film?
The Cowboy appears early and returns when the director needs to advance the narrative or signal a revelation. His presence helps viewers understand the framework of the film and indicates transitions between dream states and reality.
Who is the Cowboy’s “double” or opposite in the film?
The MC at Club Silencio functions as the Cowboy’s opposite or shadow self. While the Cowboy establishes rules and order, the MC negates everything, stating “there is no band” and “there is no music,” representing nihilism against the Cowboy’s structure.
What is the significance of Club Silencio in Mulholland Drive?
Club Silencio functions as an intermediary space between dream and reality. The MC’s declaration “No hay banda” (there is no band) reveals the illusion of the performance, symbolizing how Diane’s dream world is artificial and constructed.
What does the blue box represent in the film?
The blue box serves as a device to “jump out” of Diane’s dream. When characters enter the blue box, viewers fall out of Diane’s perspective and begin to see her from an external viewpoint, marking the transition from dream to reality.
What is the significance of the phrase “DREAMS AND WAKING LIFE ARE INTERSPERSED AND IMBUE EACH OTHER”?
This phrase captures how Lynch blurs the boundaries between dreams and reality in the film. Dreams influence waking life and vice versa, creating a fluid relationship that mirrors religious experiences where different realities intersect.
How does Maurice Merleau-Ponty’s quote relate to the film’s themes?
Merleau-Ponty’s phenomenology emphasizes how the body experiences the world through sensory perception. In Mulholland Drive, this relates to how Diane’s physical and emotional experiences shape her dreamworld, creating a deeply embodied and experiential dream rather than a theoretical one.
What are the four key elements of Freud’s dream analysis?
- Condensation (combining multiple elements into one scene)
- Displacement (using trivial elements as substitutes)
- Symbolization (using objects to represent something else)
- Secondary Revision (organizing into a coherent narrative)
What is Freud’s central concept regarding the purpose of dreams?
Wish fulfillment - dreams represent unconscious desires and unfulfilled wishes.
How does Freud distinguish between manifest and latent content in dreams?
Manifest content is what we consciously remember, while latent content is the hidden symbolic meaning our mind has processed.
How is “wish fulfillment” portrayed in Mulholland Drive?
Diane’s dream represents her desires for success and love with Camilla, creating an alternative reality where she is successful and loved
What are the four types of dreams according to Carl Jung?
- Big Dreams (significant/impactful)
- Recurring Dreams (repeating over time)
- Shadow Dreams (revealing darker aspects of self)
- Prophetic Dreams (foretelling future events)
How does Jung’s approach to dreams differ from Freud’s?
Jung focuses on archetypes and collective unconscious rather than just personal desires; he sees dreams as sources of wisdom and self-discovery rather than primarily sexual repression
What is the relationship between revelation and its receiver?
Revelation requires a receiver; one such receiver is a prophet.
Why are dreams connected to prophecy?
Dreams don’t follow everyday rules, allowing for revelations that couldn’t emerge from ordinary consciousness. As the slide states: “We can’t get different from same.”
What is meant by “self-revelation” in the context of dreams?
Self-revelation occurs when dreams reveal unconscious truths about ourselves rather than divine messages - like recognizing something about yourself you hadn’t consciously acknowledged.
What forms can dream content take according to the “Memory? Mayhem? Monsters?” slide?
Dreams can manifest as memories, chaotic scenarios (mayhem), or monsters representing aspects of ourselves we don’t want to recognize.
What three qualities characterize dreams?
Dreams are mysterious, ambiguous, and surreal
How does the concept of “surreal” relate to dreams in Lynch’s work?
Surreal refers to the intense, irrational reality of dreams - both unbelievable/fantastic yet emotionally real to the dreamer.
What role does the camera play in Lynch’s films?
The camera establishes presence - it confirms that someone or something exists or existed. In Lynch’s films, the camera can change our memory of events through contradictory images, creating new realities and truths
How does Diane’s character transformation appear visually in Mulholland Drive?
Diane’s face appears noticeably different when transitioning between her dream world and real life. This visual contrast helps viewers reconcile the two versions of Diane they experience throughout the film.
What is a “conspiracy” in the context of Mulholland Drive?
A conspiracy is a closed-loop narrative where everything connects to everything else. It’s a closed epistemology that doesn’t allow itself to be questioned by the outside world or scientific truth, similar to how Diane creates her dream world.
What is the “showrunner” question in Lynch’s films?
The question of whether the dreamer controls their dream or if there is some “other” directing what they’re dreaming. In Mulholland Drive, this relates to whether Diane controls her dream or if something else is influencing it.
How does Sacred Time function in Lynch’s films?
Time operates alternatively and set apart from normal time. Dream structures create different temporal experiences where past, present, and future can intermingle and flow into each other.
