CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior / Este trabalho se propÃe a analisar os modos de agenciamento do cinema reflexivo proposto pelo artista estadunidense David Lynch, com atenÃÃo maior para as obras Mulholland Drive e Inland Empire. Para isso, serÃo resgatadas discussÃes sobre o dispositivo cinematogrÃfico, desde a proposiÃÃo por Baudry, passando por atualizaÃÃes como as propostas por Metz e noÃÃes mais recentes como as apresentadas por Andrà Parente. As perspectivas sobre o dispositivo sÃo relacionadas com o conceito de mise en abyme; operacionalizado por Andrà Gide, posteriormente desenvolvido por DÃllenbach, e aplicados aos filmes de David Lynch por FÃtima Chinita; bem como os de reflexividade metacinematogrÃfica e reflexividade metafÃlmica, apresentados por Metz. SÃo ainda trabalhadas algumas questÃes que costumam orbitar a filmografia do cineasta e as pesquisas referentes ao tema, sendo estes: a desterritorializaÃÃo das linguagens artÃsticas, os conflitos entre um cinema de gÃnero e um cinema independente e o surrealismo. Estas discussÃes nos ajudam a compreender traÃos secundÃrios de nossa pesquisa que perpassam tanto a trajetÃria do autor quanto os filmes em observaÃÃo. As anÃlises dos filmes sÃo fundamentadas nos percursos apresentados acima e, quando possÃvel, articuladas com pensamentos transdisciplinares que nos possibilitem explorar aspectos especÃficos, principalmente com estudos da cibercultura, das teorias cinematogrÃficas e da psicanÃlise. A relaÃÃo dessas diferentes correntes teÃricas nos munem de artifÃcios para aprofundar instÃncias narrativas, tÃcnicas e estÃticas de Mulholland Drive e Inland Empire. O ordenamento desses aspectos aparentemente fragmentados, na teoria e nas obras do cineasta estadunidense, traduzem-se na prÃpria estrutura do trabalho, com capÃtulos referentes a cada tema e nÃo-cumulativos e sequenciais. Por fim, as operaÃÃes conceituais propostas à anÃlise das imagens em movimento do corpus escolhido nos permitem defender que a reflexividade à um elemento estruturante nos trabalhos do cinema de David Lynch e, de modo geral, em partes do cinema contemporÃneo. / This study aims to analyze the agency modes of reflective films proposed by the north-american artist David Lynch, with greater attention to both movies Mulholland Drive and Inland Empire. Besides, some discussions will be redeemed on cinematic apparatus, since its conceptual proposition by Baudry, through updates as proposed by Metz and some recent notions such as those presented by Andrà Parente. The outlook on the cinematic apparatus are related to the concepts of mise en abyme, operated by Andrà Gide and subsequently developed by DÃllenbach, and applied to the films of David Lynch by the work of Fatima Chinita; and the metacinematographic reflectivity and metafilmic reflectivity, presented by Metz, as well. It will present another issues that orbit the filmography of the director and researches on the topic oftenly, namely: the dispossession of artistic languages, conflicts between a genre cinema and an independent film and the surrealistic art movement. These discussions help us to understand some secondary traits of our research that pervade both the trajectory of the author as the films under our observation. The analyze of both movies are based on the routes listed above and, where possible, articulated with transdisciplinary thoughts that allow us to explore specific aspects, especially with cyberculture, studies of film theory and psychoanalysis. The relationship of these different theoretical perspectives endow the artifices to deepen narrative, technical and aesthetic instances of Mulholland Drive and Inland Empire. The management of those aspects apparently fragmented, in theory and in the works of the north-american filmmaker, are reflected in the structure of this work, with noncumulative and non-sequential chapters for each treated subject. Finally, the conceptual operations proposed to analyze the chosen corpus of moving images allow us to defend that reflectivity is a structural element in the David Lynch film works and, in general, in some parts of contemporary cinema.

My dissertation looks at the connections between Lacan’s four discourses and the sexuation graph in order to claim that sexuation is discursive and that, as Lacan presents it with the phallus as its quilting point, the sexuation graph is a narrative based on patriarchal hegemony, which is one of many possible narratives. I argue that through the hysteric’s discourse and a removal of the phallus as the Symbolic-Imaginary quilting point, we can begin to formulate new narratives of sexuated subjectivities. The textual objects I use for this project are literary and filmic works where women are the central topic or figure, and the works are all created and developed by men. Following Kristeva’s focus on the semiotic, in particular men’s avant-garde writing, I choose these works as illustrations of the ways in which the depiction of women has shifted in the wake of at least half a century of feminist and queer scholarship and activism. Grounded in Lacan’s claim that “Woman does not exist,” I explicate Woman as metaphor as an Imaginary construction of masculinist logic in order to develop a theory of Woman as metonymy that collapses the oppressive, Imaginary constructions and proliferations of Woman. Finally, I read closely Lacan’s sexuation graph, specifically turning it sideways and replacing the phallus with the general, empty master signifier to show the ways in which we can construct new meanings of subjectivity.

CineScrúpulos es una revista digital que recopila los trabajos desarrollados por los alumnos en la clase de Historia del Cine de la Facultad de Comunicaciones de la UPC. El curso no pretende brindar una visión historicista del cine repleta de fechas, nombres de directores, títulos de películas y lugares exóticos, sino que intenta evidenciar la linealidad casi genética que es intrínseca al quehacer fílmico, una tradición que no solo se repite sino que se reinterpreta en distintos escenarios y en distintos momentos. Porque se entiende que el cine es, ante todo, la herencia permanente de lo que se ha hecho antes. Los textos de la revista CineScrúpulos han sido elaborados por los alumnos, profesores y colaboradores de la Facultad de Comunicaciones de la Universidad Peruana de Ciencias Aplicadas. Las imágenes utilizadas han sido obtenidas de distintas páginas web y el uso de las mismas se inscribe en lo estrictamente académico y divulgativo. / La presente edición de CineScrúpulos rinde homenaje a la obra de uno de los más grandes innovadores y revolucionarios directores de cine de todos los tiempos: Luis Buñuel. A 30 años de su muerte se hace una revisión exhaustiva de su obra para encontrar referentes en un director más contemporáneo como David Lynch. Asimismo, descubrimos a Álex de la Iglesia bajo la sombrilla de Alfred Hitchcock y luego regresamos al Perú para preguntarnos si somos capaces de construir un cine de género con sabor nacional. Pero antes damos un vistazo a la cartelera del segundo semestre de 2012, la misma que ha estado salpicada de algunas buenas películas y de otras que prometían más de lo que dieron.

My dissertation looks at the connections between Lacan’s four discourses and the sexuation graph in order to claim that sexuation is discursive and that, as Lacan presents it with the phallus as its quilting point, the sexuation graph is a narrative based on patriarchal hegemony, which is one of many possible narratives. I argue that through the hysteric’s discourse and a removal of the phallus as the Symbolic-Imaginary quilting point, we can begin to formulate new narratives of sexuated subjectivities. The textual objects I use for this project are literary and filmic works where women are the central topic or figure, and the works are all created and developed by men. Following Kristeva’s focus on the semiotic, in particular men’s avant-garde writing, I choose these works as illustrations of the ways in which the depiction of women has shifted in the wake of at least half a century of feminist and queer scholarship and activism. Grounded in Lacan’s claim that “Woman does not exist,” I explicate Woman as metaphor as an Imaginary construction of masculinist logic in order to develop a theory of Woman as metonymy that collapses the oppressive, Imaginary constructions and proliferations of Woman. Finally, I read closely Lacan’s sexuation graph, specifically turning it sideways and replacing the phallus with the general, empty master signifier to show the ways in which we can construct new meanings of subjectivity.

Diss. Uppsala : Uppsala universitet, 2009.

The theme Point of View: David Lynch and intertextuality of this master thesis deals with the work of American film director David Lynch, which we view in terms of intertextuality. The aim is to show how David Lynch manipulates with intertextuality in his films Wild at Heart and Lost Highway and what other means he uses to achieve the specific atmosphere of his films. We say that it is impossible to unambiguously interpret Lynch's work and we will try to show that every of various points of view can be correct.

A presente tese se ocupa de uma vertente da literatura e do cinema contemporâneos, especialmente do escritor Julio Cortázar e do cineasta David Lynch, que: busca um novo tratamento para a realidade, não esconde os artifícios discursivos das obras, joga com estratégias ilusionistas e antiilusionistas, debate a própria ficção por meio de recursos metaficcionais, que se utiliza da metáfora do teatro como espaço diferenciado e como palco de ilusões e que trabalha com a questão do fantástico (ou absurdo). Grande parte do trabalho é dedicada ao estudo da obra do escritor argentino Julio Cortázar. Estudo esse que se constrói a partir das correspondências entre as produções ficcionais e teóricas de Cortázar, além de suas próprias entrevistas. Cortázar é nosso foco principal e dele, acreditamos, brotou um veio dos mais significativos na narrativa contemporânea, que estabelece novos modos de se lidar com a representação e com as referências. É devido a esses aspectos, apontados anteriormente, que estabelecemos relações com outros autores, inclusive do cinema, como é o caso de David Lynch / This thesis deals with one aspect of literature and contemporary cinema, especially the writer Julio Cortázar and filmmaker David Lynch, that: a search for new treatment really does not hide the artifice of the discursive works, plays with illusionist and anti-illusionist strategies, debate the fiction itself through metaficcionais resources, which uses the metaphor of the theater as a space variable and to stage illusions and working with the issue of the fantastic (or nonsense). Much of the work is devoted to the study of the work of Argentine writer Julio Cortázar. Study which is constructed from the correspondence between the fictional and theoretical productions of Cortázar, and his own interviews. Cortázar is our main focus and goals, we came a shaft of the most significant in contemporary novels, establishing new ways of dealing with the representation and referrals. It is because of these issues, previously mentioned, we have established relationships with other authors, including the cinema, as is the case of David Lynch

Studiens syfte är att genom semiotisk analysmetod och fototeori, om fotografiet som medium, försöka tolka David Lynchs fotografiska bildspråk i en motivanalys av två fotografier ur The Factory Photographs. Om upplevelsen av dessa fotografier kan förändras genom resonemang hämtade från främst filosoferna Roland Barthes och Susan Sontag. Detta berör teoretiskt begrepp som punctum, men även riktningen surrealism inom konst. Resultatet ska utmynna i alternativa innebörder åt fotografierna vid sidan av dess dokumentära uttryck.

Många individer är inte accepterade i samhället på grund av att de avviker. Detta är ett stort problem då de riskerar utanförskap och sämre livskvalitet. Vad jag därmed kommer att studera i denna uppsats är hur avvikande individer bemöts i samhället och hur de svarar på detta bemötande. De filmer som jag kommer att utgå ifrån i analysen är The Elephant Man (1980) av David Lynch och Mask (1985) av Peter Bogdanovich. Jag kommer sedan att använda mig av socialpsykologin som teori för att kunna analysera hur och varför detta sker. Då jag tolkar de scener jag valt ut kommer jag att använda mig av Hermeneutiken som vetenskaplig metod. I mitt arbete har jag kommit fram till att den avvikande individen bemöts olika i samhället beroende på de människor som bor där och vilken tid filmen skildrar. Vissa människor väljer att se individen utifrån kognitivt igenkännande, andra väljer genom socialt igenkännande. De kan se på den avvikande individen vara genom rädsla men också genom sympati, altruism. Dessa baseras i sin tur på de sociala normer som skapas i de samhällsgrupper som existerar. Den avvikande individens jag-identitet kan därmed påverkas negativt av andra människors handlingar. De väljer att svara på detta på olika sätt, antingen genom att försöka dölja sig, eller genom att stå emot och kämpa. De intar dock roller eller mimicry för att passa in.

Der Artikel untersucht einen Werbespot von David Lynch für die Playstation 2 und ordnet ihn in das Universum der Lynch’schen Texte, das Lynchville, ein. Zunächst werden dazu einige regelmäßig wiederkehrende Motive aus dem Werk Lynchs vorgestellt. Es folgt eine eingehende Analyse des Werbespots, in der zahlreiche Parallelen zu den bekannten Filmen des Œuvres aufgezeigt werden. Abschließend wird kurz der Frage nachgegangen, inwiefern der Begriff „auteur“ in dieser wohl kommerziellsten aller filmischen Ausdrucksformen überhaupt anwendbar ist. Der Artikel kommt zu dem Ergebnis, dass es Lynch in diesem Werbespot gelingt, eine persönliche Visiondurchscheinen zu lassen – und dass die Karte des Lynchville deshalb um einen neuen Ort ergänzt werden muss. / The article analyzes a television-commercial, which David Lynch shot for the launch of Playstation 2. It tries to introduce that commercial into the universe of well known Lynch-Movies, the Lynchville. At first, some of the recurrent motives in Lynch’s work will be discussed. Then the commercial will be analyzed, especially regarding any parallels to Lynch’s Œuvre. Finally, the question will shortly be discussed whether in this most commercial form of filmmaking the term “auteur” can still apply. The article comes to the conclusion, that Lynch succeeds in maintaining his personal vision – and that therefore the map of Lynchville has to be expanded.