David Lynch:
A Bibliography of Materials in the UC Berkeley Library












Books
Journal articles

Articles and Books on Individual films


Official David Lynch site
David Lynch Links (Germany)
The City of Absurdity

Books

Andrew, Geoff.
"David Lynch." In: Stranger than paradise: maverick film-makers in recent American cinema. New York: Limelight Editions, 1999.
MAIN: PN1998.2 .A65 1999

Breskin, David.
"David Lynch." In: Inner views: filmmakers in conversation. New York: Da Capo Press, 1997.
MOFF: PN1998.2 .B74 1997;

Chion, Michel
David Lynch London: BFI Pub., 2006.
MAIN: PN1998.3.L96 C4813 2006
MAIN: PN1998.3.L96 C4813 1995 [earlier edition]

The cinema of David Lynch: American dreams, nightmare visions
Edited by Erica Sheen & Annette Davison. London ; New York: Wallflower Press, 2004.
MAIN: PN1998.3.L96 C56 2004

Cole, Kevin L.
"David Lynch." In: The gift of story : narrating hope in a postmodern world / edited by Emily Griesinger, Mark Eaton. Waco, Tex. : Baylor University Press, c2006.
Main (Gardner) Stacks PN771 .G54 2006

Cole, Kevin L.
"Geographies of hope: Kathleen Norris and David Lynch." In: The gift of story: narrating hope in a postmodern world / edited by Emily Griesinger, Mark Eaton. Waco, Tex.: Baylor University Press, c2006.
Main Stack PN771.G54 2006

"David Lynch."
In: Postmodernism: the key figures. Edited by Hans Bertens and Joseph Natoli. Malden, Mass.: Blackwell Publishers, 2002.
MAIN: B831.2 .P683 2002;

David Lynch in theory
Edited by François-Xavier Gleyzon. Prague : Univerzita Karlova v Praze, Filozoficka Fakulta : Litteraria Pragensia, 2010.
Main (Gardner) Stacks PN1998.3.L96 D49 2010

Denzin, N. K.
"Wild about Lynch: beyond Blue velvet." In: Images of postmodern society : social theory and contemporary cinema / Norman K. Denzin. London ; Newbury Park : Sage Publications, 1991.
Main Stack PN1995.9.S6.D4 1991

Goodridge, Mike.
"David Lynch." In: Directing Boston: Focal Press, 2002.
Main Stack PN1998.A2.G66 2002

Hampton, H.
"Lynch mob." In: Born in flames : termite dreams, dialectical fairy tales, and pop apocalypses / Howard Hampton. Cambridge, Mass. : Harvard University Press, 2007.
Main Stack PN1995.H238 2007

Hughes, David
The Complete Lynch London: Virgin, 2001.
MAIN: PN1998.3.L96 H85 2001

Jameson, Fredric
"Nostalgia for the Present." In: Close reading: the reader / edited by Frank Lentricchia and Andrew DuBois.(pp. 226-42). Durham, NC: Duke University Press, c2003.
Main Stack PR21.C58 2003

Johnson, Jeff
Pervert in the pulpit: morality in the works of David Lynch Jefferson, N.C.: McFarland & Co., c2004.
MAIN: PN1998.3.L96 J64 2004; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip0413/2004000955.html

Kaleta, Kenneth C.
David Lynch New York: Twayne ; Toronto: Maxwell Macmillan Canada ; New York: Maxwell Macmillan International, c1993.
MAIN: PN1998.3.L96 K35 1993

Levy, Emanuel.
Cinema of outsiders: the rise of American independent film Published: New York: New York University Press, c1999.
See pp. 64-74 for discussion of Lynch.
MAIN: PN1995.9.E96 L43 1999
PFA: PN1995.9.E96 L43 1999

Lynch, David.
David Lynch : interviews / edited by Richard A. Barney. Jackson : University Press of Mississippi, 2009.
Main (Gardner) Stacks PN1998.3.L96 D48 2009

Lynch, David.
Images New York: Hyperion, c1994.
MAIN: PN1998.3.L96 A25 1994 item

Lynch, David
Lynch on Lynch.
London; New York: Faber, 2005.
MAIN: PN1998.3.L96 A5 1997
MOFF: PN1998.3.L96 A5 1997
PFA: PN1998.3.L96 A5 2005

McGowan, Todd.
The impossible David Lynch New York : Columbia University Press, c2007.
MAIN: PN1998.3.L96 M34 2007
Table of contents only http://www.loc.gov/catdir/toc/ecip0619/2006028223.html

Natoli, Joseph
"David Lynch." In: Postmodernism : the key figures / edited by Hans Bertens and Joseph Natoli. Malden, Mass. : Blackwell Publishers, 2002.
Main (Gardner) Stacks B831.2 .P683 2002

Newman, Robert D.
"Cannibals and clock-teasers: narrating the postmodern horror film." In: Transgressions of reading : narrative engagement as exile and return / Robert D. Newman. Durham : Duke University Press, 1993.
Main Stack PN98.R38.N48 1993

Nochimson, Martha.
The passion of David Lynch: wild at heart in Hollywood Austin: University of Texas Press, 1997.
MAIN: PN1998.3.L96 N63 1997
Contents via Google books

Olson, Greg
David Lynch : beautiful dark / Greg Olson. Lanham, Md. : Scarecrow Press, 2008.
Main (Gardner) Stacks PN1998.3.L96 O47 2008
Moffitt PN1998.3.L96 O47 2008
Pacific Film Archive PN1998.3.L96 O47 2008

Orr, John
"Inside out : Hitchcock, film noir and David Lynch" In: Hitchcock and twentieth-century cinema / John Orr. London ; New York : Wallflower, 2005.
Main (Gardner) Stacks PN1998.3.H58 O77 2005

Pretty as a picture the art of David Lynch [Video}
Directed and produced by Toby Keeler
Media Center: DVD 2155; View current status of this item

Tirard, Laurent
"Dream weavers. Pedro Almodovar. Tim Burton. David Cronenberg. Jean-Pierre Jeunet. David Lynch." In: Moviemakers' master class: private lessons from the world's foremost directors. New York: Faber and Faber, 2002.
Main Stack PN1995.9.P7.T495 2002
Moffitt PN1995.9.P7.T495 2002

Tuck, Greg
"Laughter in the dark : irony, black comedy and noir in the films of David Lynch, the Coen Brothers and Quentin Tarantino." In: Neo-noir / edited by Mark Bould, Kathrina Glitre and Greg Tuck. London ; New York : Wallflower Press, 2009.
Main (Gardner) Stacks PN1995.9.F54 N46 2009

Wallace, David Foster
"David Lynch keeps his head." In: A supposedly fun thing I'll never do again: essays and arguments. p. 146-212. Boston: Little, Brown and Co., c1997.
MAIN: PS3573.A425635 S86 1997
MOFF: PS3573.A425635 S86 1997

Willis, Sharon.
"Do the wrong thing: David Lynch's perverse style." In: High contrast : race and gender in contemporary Hollywood film / Sharon Willis. Durham, N.C. : Duke University Press, 1997.
Main Stack PN1995.9.S47.W56 1997
Compar Ethn PN1995.9.S47.W56 1997 Housed at Ethnic Studies Library.
PFA PN1995.9.S47.W56 1997

Wilson, Eric G.
The strange world of David Lynch : transcendental irony from Eraserhead to Mulholland Dr. New York : Continuum, 2007.
MAIN: PN1998.3.L96 W55 2007
Table of contents only http://www.loc.gov/catdir/toc/ecip0710/2007006464.html

Woods, Paul A.
Weirdsville USA : the obsessive universe of David Lynch. Rev. & updated ed. London : Plexus, 2000.
PFA PN1998.3.L96.W66 2000

Journal Articles

Asaravala, Amit
"Inside davidlynch.com: a surrealist director takes his work to the Web." (Case Study). New Architect August 2002 v7 i8 p12(3) (2493 words)

Breskin, David
"The Rolling Stone interview with David Lynch." (interview) Rolling Stone, Sept 6, 1990 n586 p58(8)

Bromell, H.
"Visionary from fringe land." Rolling Stone (November 13 1980) p. 13-14+

Bulkeley, Kelly
"Dreaming and the cinema of David Lynch." Dreaming. Vol 13(1), Mar 2003, pp. 49-60
UC users only
"This essay explores the influence of dreams and dreaming on the filmmaking of David Lynch. Focusing particular attention on Mulholland Drive (2001), Lost Highway (1997), Blue Velvet (1986), and the television series Twin Peaks (1990-91), the essay will discuss the multiple dream elements in Lynch's work and how they have contributed to the broad cultural influence of his films. Lynch's filmmaking offers an excellent case study of the powerful connection between dreaming and movies in contemporary American society." (PsycINFO)

Caldwell, Thomas
"David Lynch" (Great Directors: A Critical Database) Senses of Cinema

Combs, Richard
"Crude Thoughts and Fierce Forces: the films of David Lynch." Monthly Film Bulletin 54:639 (1987:Apr.) p.100
UC users only

Chute, David
"Out to Lynch." (director David Lynch) Film Comment Oct 1986 v22 p32(4)

Clarke, Roger
"David Lynch: Daydream Believer." Sight and Sound, vol. 17, no. 3, pp. 16-20, March 2007

French, Sean
"The heart of the cavern: Sean French on the films of David Lynch." Sight and Sound Spring 1987 v56 n2 p101(4)
UC users only
Exploration of the themes and obsessions of D.L.'s work so far.

Frodon, Jean-Michel (ed. and introd.)
"David Lynch, artiste et cinéaste." Cahiers du Cinéma, vol. 620, pp. 8-31, February 2007

Hampton, Howard
"David Lynch's secret history of the United States." (film and television director) Film Comment, May-June 1993 v29 n3 p38(7)
"Lynch's films depict, on the surface, the homespun small town image of life popularized by Pres Ronald Reagan. Under the innocent exterior lies violence, rape, and murder. Lynch films that explored this seamy underside include 'Blue Velvet,' 'Wild at Heart' and 'Twin Peaks: Fire Walk With Me.'"

Hinson, Hal
"Dreamscapes." American Film Vol X nr 3 (Dec 1984); p 44-50
Discusses the filmmaking methods and themes of director D.L.

"Une histoire vraie de David Lynch." [10 article special section] Cahiers du Cinema no. 540 (November 1999) p. 34-68+
A special section on David Lynch's latest film The Straight Story. Articles present reviews of the film, describe Lynch's home/studio in California, consider the film's place in Lynch's oeuvre, and present interviews with David Lynch, scriptwriter and producer Mary Sweeney, cinematographer Freddie Francis, composer Angelo Badalamenti, actor Richard Farnsworth, and actress Sissy Spacek.

Jacobson, Harlan; others
"Three guys in three directions." Film Comment Vol XXI nr 1 (Jan-Feb 1985); p 54-62
Three young directors (James Cameron, Jim Jarmusch and David Lynch) discuss their careers to date.

Johnson, Jeff
"Pervert in the pulpit: the puritanical impulse in the films of David Lynch." Journal of Film and Video Vol LV nr 4 (Winter 2003); p 3-14
Discusses the brand of Calvinism that informs the work of David Lynch.

Jordan, Randolph
"Pervert in the pulpit: morality in the works of David Lynch." Journal of Popular Film & Television 37:1 (Spring 2009) p. 45-46
UC users only

Kilgore, Matthew
Beauty and the Grotesque (Interpreting David Lynch and Flannery O'Connor Through The 'Light Of Faith'." Heythrop Journal; Jan2010, Vol. 51 Issue 1, p34-44, 11p
UC users only

"Lynch, David." Current Biography May 1987 v48 p32(6)

Lynch, David.
"Visionary from fringe land." [interview by H. Bromell]. Rolling Stone (November 13 1980) p. 13-14+

Mazullo, Mark
"Remembering Pop: David Lynch and the Sound of the '60s." American Music, Vol. 23, No. 4 (Winter, 2005), pp. 493-513
UC users only

McCrillis, M. P.
"'Lynching Stephen King'." (comparing Stephen King and David Lynch)(Critical Essay) World and I July 2003 v18 i7 p268 (5639 words)
UC users only

Murphy, J. J.
"No room for the fun stuff: the question of the screenplay in American indie cinema." Journal of Screenwriting, 2010, Vol. 1 Issue 1, p175-196, 22p
UC users only

"Naked Lynch." (filmmaker David Lynch)(Interview) Psychology Today March-April 1997 v30 n2 p28(5) (2492 words)
UC users only
Lynch believes people should have different interpretations of a film and that cinema has the power to show the abstractions that exist inside the mind. Lynch discusses his belief in reincarnation, his new movie 'Lost Highway,' and other topics.

Orgeron, Devin
"Revising the postmodern American road movie: David Lynch's The Straight Story." Journal of Film and Video Winter 2002 v54 i4 p31-46
UC users only
The film The Straight Story has highlighted the evocative power of the road. The movie argues on the consistency within the body of Lynch's work and within the broader context of the road film.

Oullette, Laurie
"Is David Lynch creepier than his movies?" (movie director)(In Brief) Utne Reader Jan-Feb 1991 n43 p14(2)

Rafferty,Terrence
"In a weird way, David Lynch makes sense." (Oscar Films) The New York Times March 10, 2002 pMT18(N) pMT18(L) col 1 (35 col in)

Rapfogel, Jared
"David Lynch." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 19, pp. (no pagination), March 2002.

Rose, Lloyd Rose
"Tumoresque: the films of David Lynch." The Atlantic Oct 1984 v254 p108(2) (1964 words)

Raunft, Ralph
"Obsessions, aesthetic anomalies and cult phenomena."Journal of Psychohistory. Special Psychohistory of the cinema. Vol 20(1), Sum 1992, pp. 65-84
"Argues that the films of David Lynch evoke a potent group fantasy that is completed through the audience's identification or receptivity to the film imagery that is symbolic of the filmmaker's unconscious obsession with and symbolic continuance of his own prenatal trauma. The audience identification is not just with the narrative content of the filmmaker's work, but with an unconscious regression to the fetal drama as motivated and re-experienced through the work. Thus, his films evoke empathetic feelings from the viewers in regard to the creative film narrative or plot and solicit a far deeper or primary desire that is expressed as group fantasy." (PsycINFO)

Szykowny, Rick
"Irrational, man." (motion picture and television program producer David Lynch) (The Popular Condition) (column) The Humanist Nov-Dec 1990 v50 n6 p33(2)

Sobran, Joseph
"Weird America." (film director David Lynch) (Cover Story) National Review Oct 1, 1990 v42 n19 p38(3) (2048 words)
UC users only

Welsh, Jim
"David Lynch." Literature-Film Quarterly Oct 1993 v21 n4 p306(1)

Wood, Bret
"Head to head with David Lynch." [Interview] Art Papers v. 22 no. 5 (September/October 1998) p. 20-1
"An interview with David Lynch. Lynch discusses several topics, including his preference for organic earth colors in his painting and photography, why he became a filmmaker rather than continue his pursuits as a painter, the effect being a well-known filmmaker has had on his critical status as an artist, and his opinion on the most conducive surroundings for creation." [Art Index]

Wood, Bret
"Organic phenomena: David Lynch's deepening mysteries." Art Papers v. 22 no. 5 (September/October 1998) p. 16-21
"The artwork of David Lynch is discussed. As a filmmaker, Lynch's talent lies in keeping the viewer ankle-deep in ever-shifting psychological and aesthetic sands, orchestrating eerie convergences of opposite extremes within a surreal landscape where absolute meaning is never made clear. The qualities that distinguish his films also apply to his artwork, earning him renown as a painter and photographer. In recent months, he has also turned his creative focus to print making. The writer examines Lynch's artwork in these media in detail." [Art Index]

Woodward, Richard B.
"A dark lens on America." (David Lynch ) The New York Times Magazine Jan 14, 1990 v139 p18 col 1 (100 col in)

Books and Articles About Individual Films

Blue Velvet

Ansen, David
"Blue velvet."Newsweek Sept 15, 1986 v108 p69(1)

Aufderheide, Pat
"Blue velvet." The Progressive Jan 1987 v51 p36(1)

Badley, Linda
"Deconstructions of the gaze." In: Film, horror, and the body fantastic. p. 101-23. Westport, Conn.: Greenwood Press, 1995.
MOFF: PN1995.9.H6 B24 1995

Benson, Sheila .
"Blue velvet." Whole Earth Review Autumn 1986 vNON4 p132(1) (125 words)

Berry, Betsy
'Forever, in My Dreams: Generic Conventions and the Subversive Imagination in Blue Velvet." Literature/Film Quarterly, vol. 16, no. 2, pp. 82-90, 1988.
UC users only

Biga, Tracy
"Blue velvet." (Review) Film Quarterly Fall 1987 v41 n1 p44(6)

Bodin, Gudrun (COMP); Poulsen, I.
"Blue Velvet by David Lynch: A fairy tale about the developmental conflicts of growing from boyhood to manhood." Psychoanalytic Inquiry. Special Projections of psychic reality: A centennial of film and psychoanalysis. Vol 18(2), 1998, pp. 238-250
"Discusses David Lynch's Blue Velvet, and suggests that in its message, it is similar to fairy tales: it is necessary to strive towards self-knowledge and to understand the unconscious, repressed dark sides in order to be truthful to oneself. One has to integrate the split-off parts to grow and develop toward maturity. It is suggested that in this way Blue Velvet richly portrays the developmental conflict of growing from boyhood to manhood. The author concludes that it seems, however, as if Lynch wants the film viewer to understand as well that the path Jefferey has to walk is uneven and tortuous and that he still has a long way to go before, as Freud wrote, "affection and sensuality have become properly fused." (PsycINFO)

Bodin, Gudrun; Poulsen, Ib
"Psychic conflicts in contemporary language: An analysis of the film "Blue Velvet" by David Lynch." Scandinavian Psychoanalytic Review. Vol 17(2), 1994, pp. 159-177
"Contends that Blue Velvet illustrates, in the same way as a fairy tale, a genuine psychoanalytic frame of thought. The message in both is that it is necessary to strive toward self-knowledge, to understand those unconscious repressed dark sides to be truthful to oneself. One has to know the evil in oneself to have any hope of being able to live as a human being. It is suggested that Blue Velvet may visualize fundamental human psychic conflicts, the core of psychoanalytic work." (PsycINFO)

Bond, Erik
"Imagined Communities, Magical Kingdoms, and David Lynch's Head: What the Pre-Romantic Imagination Can Teach Us." Confluence: The Journal of Graduate Liberal Studies; Fall2010, Vol. 16 Issue 1, p40-53, 14p
UC users only

Bouzereau, Laurent
"Blue Velvet: An Interview with David Lynch." Cineaste: America's Leading Magazine on the Art and Politics of the Cinema, vol. 15, no. 3, pp. 39, 1987.

Bulkeley, Kelly
"Dreaming and the cinema of David Lynch." Dreaming. Vol 13(1), Mar 2003, pp. 49-60
UC users only
"This essay explores the influence of dreams and dreaming on the filmmaking of David Lynch. Focusing particular attention on Mulholland Drive (2001), Lost Highway (1997), Blue Velvet (1986), and the television series Twin Peaks (1990-91), the essay will discuss the multiple dream elements in Lynch's work and how they have contributed to the broad cultural influence of his films. Lynch's filmmaking offers an excellent case study of the powerful connection between dreaming and movies in contemporary American society." (PsycINFO)

Bundtzen, Lynda K.
"'Don't look at me!' Woman's Body, Woman's Voice in Blue Velvet." Western Humanities Review, vol. 42, no. 3, pp. 187-203, Fall 1988.

Chute, David
"Out to Lynch." Film Comment Vol XXII nr 5 (Sept-Oct 1986); p 32-35
US director D.L. talks about his latest film "Blue velvet".

Copenhafer, David
"Mourning and Music in Blue Velvet." Camera Obscura 23(3 69): 137-157 (2008)
UC users only

Corliss, Richard
"Blue velvet." (Review) Time Sept 22, 1986 v128 p86(1) (507 words)

Corliss, Richard
"Our town." Film Comment Vol XXII nr 6 (Nov-Dec 1986); p 9-13,16-17
Discusses the images of small town life in the US which are developed in "Blue velvet", "True stories" and "Peggy Sue got married".

Coughlin, Paul
"Blue Velvet: postmodern parody and the subversion of consrvative framework." Literature-Film Quarterly Oct 2003 v31 i4 p304-311
UC users only
David Lynch's film, Blue Velvet, is considered as a parody of past representational frameworks in literature. The various interpretations of this film are presented.

Cunliffe, Simon
"Blue velvet." (Review) New Statesman April 10, 1987 v113 p23(2)

Davenport-Hines, R. P. T.
"Wild mood swings." In: Gothic: four hundred years of excess, horror, evil, and ruin. / Richard Davenport-Hines. p. 343-85. New York: North Point Press, 1999.
MAIN: NX449.7.G68 D38 1999

Denby, David
"Blue velvet." New York Sept 29, 1986 v19 p85(2)

Denzin, Norman K
"Blue velvet: postmodern contradictions." In: The Post-Modern reader. Edited by Charles Jencks London: Academy Editions ; New York: St. Martin's Press, c1992.
MAIN: B831.2 .P67 1992

Denzin, Norman K
Images of postmodern society: social theory and contemporary cinema / Norman K. Denzin. London ; Newbury Park: Sage Publications, 1991.
Main Stack PN1995.9.S6.D4 1991

Derwin, Susan
"Shattered hopes: on Blue velvet." In: Violence and mediation in contemporary culture. Edited by Ronald Bogue and Marcel Cornis-Pope. Albany: State University of New York Press, c1996.
MAIN: CB430 .V56 1996
SOCW: CB430 .V56 1996 DESK
IIRL: CB430 .V56 1996

Gibbs, John
"Blue velvet." (Review) Historical Journal of Film, Radio and Television June 1999 v19 i2 p284(2) (645 words)
UC users only

Grindon, Leger.
"Blue Velvet: 'It's a Strange World'." In: American cinema of the 1980s : themes and variations / edited by Stephen Prince. New Brunswick, N.J. : Rutgers University Press, c2007.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1993.5.U6 A8578 2007)
Moffitt PN1993.5.U6 A8578 2007)

Haig, Francesca.
"Something is rotten in Blue Velvet ... an exploration of David Lynch's Blue Velvet via Shakespeare's Hamlet." Traffic 8 (Jan 2006): 197(15).

Hampton, Howard
"David Lynch's secret history of the United States." (film and television director) Film Comment May-June 1993 v29 n3 p38(7)
UC users only
Lynch's films depict, on the surface, the homespun small town image of life popularized by Pres Ronald Reagan. Under the innocent exterior lies violence, rape, and murder. Lynch films that explored this seamy underside include 'Blue Velvet,' 'Wild at Heart' and 'Twin Peaks: Fire Walk With Me.'

Horne, Philip
"Henry Hill and Laura Palmer." London Review of Books, vol. 12, no. 24, pp. 20-21, December 1990.

Hume, Kiel.
"Politicizing Lynch/Lynching Politics: Reification in Blue Velvet and Wild at Heart." Quarterly Review of Film & Video, May2010, Vol. 27 Issue 3, p219-228, 10p
UC users only

Hutchings, David
"Blue Velvet's David Lynch views Nicolas Cage and Laura Dern through a lens darkly." People Weekly March 19, 1990 v33 n11 p74(2) (700 words)

Kerr, Philip
"Sex with a dressing gown: Philip Kerr goes on a tour of corruption and depravity with Dennis Hopper." (Film). (Blue Velvet) New Statesman (1996) Dec 17, 2001 v130 i4568 p102(2) (1046 words)
UC users only

Kael, Pauline
"Blue velvet." (Review) The New Yorker Sept 22, 1986 v52 p99(5)

Kramer, Louise
"Blue velvet." (Review)New York Jan 5, 1987 v20 p15(1)

Kuzniar, Alice A.
"'Ears Looking at You: E. T. A. Hoffmann's The Sandman and David Lynch's Blue Velvet." South Atlantic Review, vol. 54, no. 2, pp. 7-21, May 1989.
UC users only

Layton, Lynne
"Blue Velvet: Parable of Male Development." Screen, vol. 35, no. 4, pp. 374-93, Winter 1994.
UC users only
"The writer discusses Blue Velvet by David Lynch in the context of contemporary film theory and psychoanalytic theory. The analyses occasioned by the confusions in the film's style and content reveal some of the contradictions in the critical vocabularies of these theories. The developmental theory offered not only by Lynch, but also by Freud and Lacan, describes and enacts a moment in the development of narcissistic men. The danger of using Freudian and Lacanian categories to interpret gender relations in film is that film theory and psychoanalytical theory come from the same phallic categories. In order to understand the contemporary psychic and social worlds, categories of self disorders, trauma, and pre-Oedipal pathology are necessary." [Art Index]

Lindroth, James
"Down the yellow-brick road: two Dorothys and the journey of initiation in dream and nightmare." ('Blue Velvet' and 'The Wizard of Oz') Literature-Film Quarterly July 1990 v18 n3 p160(7)
UC users only

LoBrutto, Vincent
"Dream state: Blue velvet." In: Becoming film literate: the art and craft of motion pictures / Vincent LoBrutto; foreword by Jan Harlan. Westport, Conn.: Praeger, c2005.
Moffitt PN1994.L595 2005
PFA PN1994.L595 2005

Loder, Kurt
"Blue velvet." (Review) Rolling Stone Oct 23, 1986 p44(2)

Makarushka, Irena.
"Subverting Eden: Ambiguity Of Evil and the American Dream in Blue Velvet."Religion and American Culture 1991 1(1): 31-46.
UC users only
"The film Blue Velvet, written and directed by David Lynch, is a postmodern artwork that analyzes American culture and probes the ambiguity of good and evil. Following the postmodern assertion that there is no authoritative interpretative framework for American culture, Lynch attempts to deconstruct some of the familiar icons associated with it. The film focuses at times on a decaying ear that invites the viewer "to consider whether God can still be heard." Lynch makes clear that the American Dream is a sham and a failure. By making the plot difficult to follow, postmodern literature such as this film points out that American culture is no longer marked by centeredness." [America: History and Life]

Marzec, Marcia Smith
"Blue Velvet as Psychomania." Journal of Evolutionary Psychology, vol. 15, no. 1, pp. 87-92, March 1994.

Maslin, Janet
"Blue velvet." (Review) The New York Times Sept 19, 1986 v136 p22(N) pC12(L) col 1 (14 col in)

Maslin, Janet
"Blue velvet." (Review) The New York Times May 24, 1987 v136 s2 pH16(N) pH16(L) col 1 (3 col in)

Maslin, Janet
"New films rethink the small town; forty years after "It's a Wonderful Life," the world beyond the cities is being portrayed as full of energy and surprises, sometimes bizarre." The New York Times Dec 21, 1986 v136 s2 pH1(N) pH1(L) col 5 (29 col in)

Maxfield, James F.
"Now its Dark": The Child's Dream in David Lynch's Blue Velvet." Post Script; Summer89, Vol. 8 Issue 3, p2-17, 16p,

McLemore, Elizabeth
"From revelation to dream: allegory in David Lynch's Blue velvet." In: Screening the sacred: religion, myth, and ideology in popular American film. Edited by Joel W. Martin, Conrad E. Ostwalt, Jr. Boulder: Westview Press, 1995.
MAIN: PN1995.5 .S36 1995

Moon, Michael
"A Small Boy and Others: Sexual Disorientation in Henry James, Kenneth Anger, and David Lynch." In: Comparative American identities: race, sex, and nationality in the modern text Edited with an introduction by Hortense J. Spillers. New York: Routledge, 1991.
MAIN: PN843 .C66 1991
MOFF: PN843 .C66 1991

Mulvey, Laura.
"The Pre-Oedipal Father: The Gothicism of Blue Velvet." Edited by Victor Sage & Allan Lloyd Smith. In: Modern Gothic: A Reader. Edited by Victor Sage & Allan Lloyd Smith. pp. 38-57. Manchester; New York: Manchester University Press: Distributed in the USA by St. Martin's Press,
MAIN: PR888.T3 M63 1996
Also in:
Fetishism and curiosity Bloomington: Indiana University Press ; London: British Film Institute, 1996.
MAIN: PN1995 .M74 1996
MOFF: PN1995 .M74 1996

Newman, Robert D.
"Cannibals and clock-teasers: narrating the postmodern horror film." In: Transgressions of reading: narrative engagement as exile and return. p. 59-81. Durham: Duke University Press, 1993.
MAIN: PN98.R38 N48 1993

O'Toole, Lawerence
"Blue velvet." Maclean's Sept 29, 1986 v99 p57(1)

Pellow, C. Kenneth
"'Blue Velvet' once more." Literature-Film Quarterly July 1990 v18 n3 p173(6)
UC users only

Penman, Ian.
"Film reviews: blimps, pimps, crims and croppers." In: Vital signs: music, movies and other manias. p. 272-94. London ; [New York]: Serpent's Tail, c1998.
MAIN: ML3534 .P46 1998

Pfeil, Fred
"Home Fires Burning: Family Noir in Blue Velvet and Terminator 2." In: Shades of Noir: A Reader. Edited by Joan Copjec. pp. 227-59. London: Verso, xii, 300 pp.
GRDS: PN1995.9.F54 S5 1993; Non-circulating; may be used only in Graduate Services.
MAIN: PN1995.9.F54 S5 1993

Pfeil, Fred
"Revolting Yet Conserved: Family Noir in Blue Velvet and Terminator 2." Postmodern Culture: An Electronic Journal of Interdisciplinary Criticism, vol. 2, no. 3, pp. 49 paragraphs, May 1992.
UC users only

Poulsen, Ib
"Blue Velvet by David Lynch: A Fairy Tale About the Developmental Conflicts of Growing from Boyhood to Manhood." Psychoanalytic Inquiry, (1998). 18:238-250

Powers, John
"Bleak chic." American Film Vol XII nr 5 (Mar 1987); p 47-51
Explores the new gothic sensibility in US films of the 1980's, with analysis of "Blue velvet" and "Something wild" in particular.

Preston, Janet
"Dantean imagery in 'Blue Velvet.'" Literature-Film Quarterly July 1990 v18 n3 p167(6)
UC users only

Rafferty, Terrence
"Blue velvet." (Review) The Nation Oct 18, 1986 v243 p383(3) (1503 words)
UC users only

Rapfogel, Jared
"David Lynch" Senses of Cinema
UC users only

Robertson, Nan
"All American director of 'Blue Velvet'." (David Lynch) The New York Times Oct 11, 1986 v136 p14(N) p11(L) col 1 (23 col in)

Rösing, Lilian Munk.
"An Ethics of Skin and Gender." Nora: Nordic Journal of Women's Studies, vol. 10, no. 3, pp. 147-53, 2002.

Shattuc, Jane M.
"Postmodern misogyny in Blue Velvet." Genders Spring 1992 n13 p73(17)
"The motion picture 'Blue Velvet' was criticized as a misogynist film that depicts sexual violence towards women. Ironically, the film has been praised by some feminists as a supposed example of a postmodern art form that integrates mass culture and aesthetic distance. The film's themes of voyeurism and masculine violence contradicts feminist ideals, whatever the arguments of postmodern feminists." [Expanded Academic Index]

Simon, John
"Blue velvet." (Review) National Review Nov 7, 1986 v38 p54(2) (1524 words)

Stern, Lesley
"The Oblivious Transfer: Analyzing Blue Velvet." Camera Obscura: A Journal of Feminism, Culture, and Media Studies, vol. 30, pp. 77-90, May 1992. UC users only
"Blue velvet" as a psychoanalytic drama of transference through the aural dimension.

Travers, Peter
"Blue velvet." (Review) People Weekly Sept 22, 1986 v26 p8(2) (326 words)

Varsava, Jerry A.
"Blue Velvet and the Revisioning of the Middle-American Idyll." In: Narrative turns and minor genres in postmodernism. Edited by Theo D'haen and Hans Bertens. pp. 295-317. Amsterdam ; Atlanta, GA: Rodopi, 1995.
Main Stack PN98.P64.N3 1995

White, Jonathan David
"Bisexuals Who Kill: Hollywood's Bisexual Crimewave, 1985-1998." In: Bisexual men in culture and society / Brett Beemyn, Erich Steinman, editors. New York: London: Harrington Park, c2002.
Main Stack HQ74.2.U5.B52 2002

Wittenberg, Judith Bryant
"The 'Strange World' of Blue Velvet: Conventions, Subversions and the Representation of Women." In: Sexual Politics and Popular Culture. Edited by Diane Raymond. pp. 149-57. Bowling Green, Ohio: Bowling Green State University Popular Press, c1990.
ED-P: HQ1233 .S49 1990
MAIN: HQ1233 .S49 1990

Dune

Ansen, David.
"Dune." Newsweek 104 (Dec 10, 1984): 93(2).

Callenbach, Ernest.
"Dune." Film Quarterly 38 (Spring 1985): 53(1).

Corliss, Richard.
"Dune." Time 124 (Dec 17, 1984): 99(1).

Dune and philosophy : weirding way of mentat
Edited by Jeffery Nicholas. Chicago, Ill. : Open Court, 2011.
Main (Gardner) Stacks PS3558.E63 Z65 2011

Griswold, Jeff.
"'Dune': $52 million. (Three guys in three directions) (David Lynch)." Film Comment 21 (Feb 1985): 55(2).

Hodenfield, Chris.
"Daring Dune: director David Lynch brings to the screen the most popular sci-fi epic of all time." Rolling Stone (Dec 6, 1984): 26(3).

Kael, Pauline.
"Dune." The New Yorker 60 (Dec 24, 1984): 74(3).

Liddell, Elisabeth; Liddell, Michael
"Dune: A Tale of Two Texts." In: Cinema and fiction: new modes of adapting, 1950-1990 / edited by John Orr and Colin Nicholson. Edinburgh: Edinburgh University Press, c1992.
Main Stack PN1995.3.C56 1992

Rose, Lloyd.
"Dune diary." Film Comment 20 (Feb 1984): 2(2).

Rose, Lloyd.
"Tumoresque: the films of David Lynch." The Atlantic 254 (Oct 1984): 108(2).
UC users only

"The sci-fi issue."
Sight & Sound Vol XI nr 9 (Sept 2001); p 12-22
Science fiction special containing articles on Tim Burton's "Planet of the apes", Spielberg's "A.I." and two versions of "Dune".

Strick, Philip
"Riddle of the Sands" Sight and Sound, vol. 11, no. 9, pp. 20-22, September 2001.
UC users only
An overview is presented of the 1984 motion picture 'Dune', directed by David Lynch, which is now considered to be a sci-fi classic. Based on the 1960s book by Frank Herbert, it took many attempts to bring the movie to the screen and embraces many topics, including evolution, ecology and genetic engineering.

Elephant Man

Asahina, Robert
"Elephant man." The New Leader Sept 22, 1980 v68 p18(2)

Canby, Vincent
"Elephant man." The New York Times Oct 3, 1980 v130 p16(N) pC8(LC) col 1 (24 col in)

Darke, Paul Anthony
"The Elephant Man (David Lynch, EMI Films, 1980): An Analysis from a Disabled Perspective." Disability & Society Volume 9, Number 3 / January 1994
UC users only
"A paper that uses Foucault's ideas on normalisation and medicalisation to discuss David Lynch's The Elephant Man as a movie that dehumanises and objectifies its subject rather than one that represents abnormality/disability as human or valid in itself, as it is often claimed for the film. I analyse the methods by which the film inadvertently portrays the historical process of medicalisation and reinforces its ideology of normality as 'common sense' and abnormality as inhuman and 'unbearable' due to its pathological state rather than social construction; with the 'Freak'/abnormality (as carnivalesque) also being examined. I consequently analyse the ambiguities of the film to show its hidden agenda (through unconscious acceptance) of placing abnormality further and further into the realms of the Other, with eugenic overtones."

Edelman, Rob
"Elephant man."Films in Review Vol XXXI nr 9 (Nov 1980); p 567-568

Holladay, William E.; Stephen Watt
"Viewing the Elephant Man." PMLA, Vol. 104, No. 5. (Oct., 1989), pp. 868-881.
UC users only
"The story of John Merrick-the "Elephant Man" of late Victorian sideshows who became a cause célèbre of the aristocracy-has achieved a new and perhaps surprising popularity in recent years. An examination of Bernard Pomerance's 1979 play and David Lynch's 1980 film reveals several sources of viewing pleasure that may account for this attraction, all of which converge on representations of Merrick. Among these sources are the appeals of melodrama and Brechtian epic theater, as well as the more deep-seated gratifications connected with voyeurism, pornography, and theatrical and cinematic spectating. In distinctive ways, each narrative constructs both a mythology of Merrick's life and spectators who are alternately empowered and submissive, politically aware and emotionally engaged." [JSTOR]

Kawin, Bruce
"Elephant man." Film Quarterly Vol XXXIV nr 4 (Summer 1981); p 21-25

Keller, James R.
""Like to a chaos": deformity and depravity in contemporary film." Journal of Popular Film and Television v. 23 (Spring 1995) p. 8-14
UC users only
"A discussion of deformity and depravity in contemporary film. The writer documents the construction of social roles of misshapen individuals in David Lynch's The Elephant Man, Peter Bogdanovich's The Mask, Walter Hill's Johnny Handsome, Sam Raimi's Darkman, and Mel Gibson's A Man without a Face. He argues that The Elephant Man and The Mask seek to establish the basic humanity of the deformed individual by deconstructing the presumed union of physical deformity and transgression. Johnny Handsome, Darkman, and The Man without a Face, on the other hand, he asserts, explore the potential deviancy of a socially marginalized group. He concludes that the portrayal of deformity and depravity in contemporary film attributes much of the culpability for criminal activities to the social forces responsible for alienating and abusing the physically handicapped." [Art Index]

Nowak, Lars.
"Mother's little nightmare: Photographic and monstrous genealogies in David Lynch's The Elephant Man." Journal of European Popular Culture, Jan2010, Vol. 1 Issue 1, p69-83, 15p
UC users only

Pym, John
"I pray to God he is an idiot."Sight & Sound Vol L nr 1 (Winter 1980-81); p 64-65

Eraserhead

Buckley, Tom
"Eraserhead." The New York Times Oct 17, 1980 v130 p13(N) pC15(LC) col 1 (9 col in)

Godwin, George
"Eraserhead." American Film March 1990 v15 n6 p69(1) Film Quarterly Fall 1985 v39 p37(7)
UC users only

Kermode, Mark.
"Eraserhead." In: Contemporary American cinema / edited by Linda Ruth Williams and Michael Hammond. London ; Boston : Open University Press, c2006.
Full-text available online [UC Berkeley users only]

Thompson, Frank
"Eraserhead." American Film March 1990 v15 n6 p69(1)

Inland Empire

Atkinson, Michael
"Inland Empire." Sight & Sound v. ns17 no. 4 (April 2007) p. 68-9
UC users only
"David Lynch's Inland Empire (2006) is an uncompromising, madcap work of first-class cinema from film's greatest and most uncompromisingly unique director. Indeed, Inland Empire is such a different and fascinating spectacle that roping it into any category with other movies seems a dubious endeavor. Laura Dern shows up in a variety of personae; it is symptomatic of Lynch's sensibility that the viewer is never sure how many. Several could be contained within the movies within the movie, or not, or both--as a roomful of prostitutes dance to "The Loco Motion", other figures flag tales and ideas of murder, movie sets open on to real homes and mysterious neighbourhoods, interviews are conducted with no clear purpose, and so spectacularly on. Overall, Inland Empire is a cataract of anxiety, Lynch's semi-conscious menagerie unleashed." [Art Index]

Aubron, Herve; Delorme, Stephane; Tesse, Jean-Philippe
"Un sphinx souriant." Cahiers du Cinéma no. 620 (February 2007) p. 12-14
"Part of a special section devoted to David Lynch marking the release of his new film, INLAND EMPIRE, and "The Air Is on Fire," an exhibition of his artwork at the Fondation Cartier, Paris, from March 3 to June 3, 2007. An interview with Lynch. Topics discussed include the fact that INLAND EMPIRE is a companion piece to Mulholland Drive, Lynch's reasons for shooting INLAND EMPIRE on video, working with Laura Dern, the intense emotions the film deals with, and the film's juxtaposition of Poland and Hollywood." [Art Index]

Beghin, Cyril
"L'empire du milieu." Cahiers du Cinéma no. 620 (February 2007) p. 16-17
"Part of a special section devoted to David Lynch marking the release of his new film, INLAND EMPIRE, and "The Air Is on Fire," an exhibition of his artwork at the Fondation Cartier, Paris, from March 3 to June 3, 2007. A presentation of Lynch's Web site, www.davidlynch.com. The most interesting section of the site is Experiments, which features nine short films that each open up different experimental possibilities. The site also includes photography and painting galleries, musical essays, and forums with Lynch. The writer goes on to discuss correspondences between the site's contents and Lynch's films." [Art Index]

Brooks, Jodi
"Cinema, Disappearance and Scale in David Lynch’s Inland Empire." Screening the Past, Issue 31, 2011

Clarke, Roger
"Daydream believer: David Lynch." Sight & Sound v. ns17 no. 3 (March 2007) p. 16-18, 20
UC users only
"David Lynch's movie Inland Empire (2006) is typical of the filmmaker's miasma of overlapping stories and identities, dream, and consciousness, shot on digital in Los Angeles and Poland by the director himself. Aspects of the production of Inland Empire recall the protracted, financially stretched origins of Lynch's Eraserhead (1976), and his on-line projects Dumbland, Rabbits, and Axxon N. Like other Lynch films, Inland Empire portrays a world where people can turn into horrifying doppelgangers. In a manner close to the transcendental meditation that the filmmaker has practiced for 30 years, Inland Empire approaches something that has been described as approximating a "psychogenic fugue," a term for the assumption of a new identity much commented on in relation to Lynch's Lost Highway, the film Inland Empire most resembles." [Art Index]

Dargis, Manohla
"The Trippy Dream Factory Of David Lynch." New York Times; 12/6/2006, Vol. 156 Issue 53785, pB1-B7, 2p

Delorme, Stephane; Penwarden, C., tr
"David Lynch: Inland on Fire." Art Press no. 331 (February 2007) p. 19-25
UC users only
"David Lynch is doubly present in Paris in early 2007. His film Inland Empire is being released on February 7. Filmed on a digital camera over three years, the film is more like an artist's gesture, with Lynch revealing a more intuitive, almost tactile relation to images and working with actress Laura Dern in an intimacy akin to portrait painting. The exhibition "The Air is on Fire" is at the Fondation Cartier from March 3 through June 3. It features Lynch's visual output over the years, showing him to be a serious draftsman, painter, and photographer." [Art Index]

Figgis, Mike
"Into the abstract." Sight & Sound v. ns17 no. 3 (March 2007) p. 18-19
UC users only
"In an interview, filmmaker David Lynch discusses aspects of his new movie, Inland Empire. Topics addressed include how Lynch's process of filmmaking differs from the studio convention, the reason why Lynch concentrated on film rather than painting or writing, his decision to use video when shooting Inland Empire, and his experience of operating the camera during the production of the film." [Art Index]

Hampton, Howard
"Director's Cut Pick: Inland Empire." Film Comment v. 43 no. 4 (July/August 2007) p. 74
UC users only
"The new DVD release of the director's cut of Inland Empire does not make David Lynch's film any less murky. Over the course of the movie's three phenomenally concentrated, hypnotically claustrophobic hours, Lynch makes many surreal things happen. This new DVD has a second disc with an extra 75 minutes of more things that happened"-- a full 40 percent bonus of bizarre events and images. This plethora of new footage does not help make sense" of the movie, however. Instead, these spasmodic episodes serve only to reinforce the film's cryptic feedback-loop circularity, dropping clues and hints that amplify certain situations without clarifying a thing." ." [Art Index]

Kadner, Noah
"Lynch Goes Digital with "Inland Empire"." American Cinematographer v. 88 no. 4 (April 2007) p. 116, 118-19
"Inland Empire is writer/director David Lynch's first foray into digital video for theatrical release. The film's nonlinear plot is comprised of a series of bizarre and loosely connected stories that take place in a number of settings, including Los Angeles, where an actress struggles to play a film role that might be cursed; Lodz, Poland, where nefarious characters are plentiful; and a theatrical living-room set inhabited by people with human bodies and rabbit heads. Lynch filmed the movie himself, using a Sony PD-1 50 in 29.97/60i NTSC, and he edited it with Apple's Final Cut Pro." [Art Index]

Nochimson, Martha P.
"Inland Empire." Film Quarterly v. 60 no. 4 (Summer 2007) p. 10-14
UC users only
"David Lynch's digitally filmed Inland Empire defies the conventions of the generic behind-the-scenes Hollywood movie about an actress's struggle for success by neither demonizing nor trivializing female creativity but instead celebrating a woman artist's use of a banal industry for transcendent purposes. Throughout, in tracing Nikki Grace's destiny, Lynch locates the spectator in a maelstrom of creative energy as he plays reflexively with movie icons and structures. He creates a scenario in which Grace transcends the power of the media to define and limit her and, instead, plays out her empowerment as she employs the media for her creative and personal purposes, as a catalyst for her own inner explorations and definition. In this story about the distinction between the empire within and the surface realm of worldly achievements (but also about their connections), Lynch radiates a strong optimism that examines, through the creative power of a woman artist, the ways in which the apparent limits of a violent world predicated on commodities and empty signs can become instrumental to the evolution of an organic form of victory and pleasure." [Art Index]

Nochimson, Martha P.
"Like a Ribbon of Dreams." Film-Philosophy, 2006, Vol. 10 Issue 3, p50-62, 13p; (AN 24120645
UC users only

Taubin, Amy
"The Big Rupture: David Lynch, Richard Kelly, and the New Cinematic Gestalt." Film Comment v. 43 no. 1 (January/February 2007) p. 54, 56-7, 59
UC users only
"David Lynch's Inland Empire and Richard Kelly's Southland Tales are ingenious attempts to merge long-form, character-driven genre narratives. Inland Empire is a psychodrama-horror combination, and Southland Tales is an apocalyptic sci-fi war movie. As with all of Lynch's movies, Inland Empire is an exploration of consciousness, specifically processes of consciousness involved in creating a work of art. Whereas Lynch's digs deep into the unconscious to find meaning and form in a hallucinatory world, Kelly's movie glides on the surfaces of the mediascape to the same end." [Art Index]

Lost Highway

Britt, Thomas R.
"Death, Excess, and Discontinuity: On Lost Highway, Irreversible, and Visitor Q." Bright Lights Film Journal, November 2008 | Issue 62

Bulkeley, Kelly
"Dreaming and the cinema of David Lynch." Dreaming. Vol 13(1), Mar 2003, pp. 49-60
UC users only
"This essay explores the influence of dreams and dreaming on the filmmaking of David Lynch. Focusing particular attention on Mulholland Drive (2001), Lost Highway (1997), Blue Velvet (1986), and the television series Twin Peaks (1990-91), the essay will discuss the multiple dream elements in Lynch's work and how they have contributed to the broad cultural influence of his films. Lynch's filmmaking offers an excellent case study of the powerful connection between dreaming and movies in contemporary American society." (PsycINFO)

Carrillo Rowe, Aimee; Lindsey, Samantha.
"Reckoning Loyalties: White Femininity as 'Crisis'." Feminist Media Studies, vol. 3, no. 2, pp. 173-91, Summer 2003.

Denby, David
"Lost Highway." New York March 3, 1997 v30 n8 p53(2)

Dilas, Vikica
"Meshing with Lynch."Sight & Sound Vol VII nr 10 (Oct 1997); p 72
Cites "Meshes of the afternoon" as a direct influence on David Lynch's "Lost highway".

Gifford, Barry.
"Fuzzy sandwiches; or, There is no speed limit on the lost highway." In: The cavalry charges : writings on books, film and music / Barry Gifford. 1st Thunder's Mouth press ed. New York : Thunder's Mouth Press ; [Berkeley, Calif.] : Distributed by Publishers Group West, 2007.
Main Stack PS3557.I283.Z46 2007
Morrison Lib PS3557.I283.Z46 2007
Moffitt PS3557.I283.Z46 2007

Gilmore, Mikal
"The lost boys." (David Lynch film 'Lost Highway,' Trent Reznor's musical contribution to film score; two related articles)(Cover Story)(Interview)Rolling Stone, March 6, 1997 n755 p36(12)
"Lynch has created yet another dark film with violent imagery in 'Lost Highway.' Lynch discusses his career as a filmmaker and other topics. Trent Reznor, the one-man Nine Inch Nails, discusses his appreciation for Lynch and the new film's soundtrack." [Expanded Academic Index]

Herzogenrath, Bernd
"On the Lost Highway: Lynch and Lacan, Cinema and Cultural Pathology." Other Voices, v.1, n.3 (January 1999)

"Lost Highway." The New York Times August 15, 1997 v146 pB22(N) pD21(L) col 6 (2 col in)

Lyons, Donald
"Lost Highway." Film Comment Jan-Feb 1997 v33 n1 p2(2)
UC users only
"David Lynch's Lost Highway is a grimly playful collage of pictures that play with time and space and sex and death. Lynch wrote the film with Barry Gifford, author of the novel that Lynch's Wild at Heart was based on. In the movie, a mystery videomaker sends three videotapes to Renee Madison (Patricia Arquette) and Fred Madison (Bill Pullman). The first shows the exterior of their house, the second the interior, and the third the bloodied corpse of Renee. In the second half of the film, the Madisons are replaced by a young mechanic, played by Balthazar Getty, and a gangster's moll, also played by Arquette, and the adventures of these characters are followed. Lost Highway is saved from pathology and made into art by its cool control, its postmodern distance, and its tinny ironies." [Art Index]

Maslin, Janet
"Lost Highway." The New York Times Feb 21, 1997 v146 pB1(N) pC1(L) col 1 (22 col in)

McCarthy, Todd
"Lost Highway." Variety Jan 20, 1997 v365 n11 p44(2) (1054 words)

McGowan, Todd
"Finding ourselves on a Lost highway: David Lynch's lesson in fantasy." Cinema Journal Vol XXXIX nr 2 (Winter 2000); p 51-73
UC users only
"The difficulties of the narrative in David Lynch's film Lost Highway are the result of the type of revelations the film makes about the interrelations between fantasy and desire. One can grasp what is happening in the film if one views the sudden transformation of Fred Madison into Peter Dayton as phantasmic: Peter is Fred within Fred's fantasy. The film reveals the operations of fantasy by separating what narrative usually holds together--desire and fantasy--as the divergent worlds of Fred and Peter are established as worlds of desire and fantasy, respectively. The film makes evident an underlying logic of fantasy that is operative in the filmic experience itself, and because its narrative brings the logic of fantasy into the open, the film necessarily strikes viewers as incongruous--as a film without any narrative at all. Lost Highway refuses the phantasmic illusion of depth that filmic narratives provide, instead comporting viewers toward the void that fantasy obscures." [Art Index]

Newman, Kim
"Lost Highway." Sight and Sound Sept 1997 v7 n9 p48(1)

O'Connor, T.
"The Pitfalls of Media "Representations": David Lynch's "Lost Highway"." Journal of Film and Video v. 57 no. 3 (Fall 2005) p. 14-30
UC users only
"David Lynch's film Lost Highway is examined through Lacanian psychoanalytical theory. This film focuses on a jazz musician confronted with bizarre, mysterious phenomena as he experiences a psychotic breakdown after discovering that his wife is having an affair. If it is a critique of the cultural impetus to regress and find imaginary solutions to real human conflicts, it allows viewers to regress without creating an easy, nostalgic fantasy. It suggests that the only way to truly live in the ontological space/time of the protagonist's limited/contingent identity is to author productive stimulations that overcome alienating illusions. In this sense, it argues for a life-affirming worldview and an ethics of individual responsibility for the production of signification." [Art Index]

Rhodes, Eric Bryant
"Lost highway." Film Quarterly Vol LI nr 3 (Spring 1998); p 57-61
UC users only
"Despite accusations that David Lynch's Lost Highway is irredeemably chaotic, it actually sticks to a disciplined aesthetic formality. Many people have suggested that Lynch has gone too far in yielding free reign to his eccentric set of visual obsessions. Spectators have been confounded to a large extent in their efforts to distinguish between scenes that reflect the characters' fantasies and those that are part of the narrative reality. Nonetheless, the film is presented within a formally rigorous and well-defined thematic structure. The realization that Lost Highway's visual language communicates an increasingly deeper descent into madness reveals the film's complex conceptual meaning." [Art Index]

Roddy, Harry Louis, Jr.
"The Metastructural Significance of Those Center Stripes: Or, What's Really Going On in David Lynch's Lost Highway?" In: The image of the road in literature, media, and society: selected papers [from the] 2005 conference [of the] Society for the Interdisciplinary Study of Social Imagery Pueblo, Co.: The Society, 2005
MAIN: Ordered for Main Stack

Rodley, Chris
"David Lynch: Mr Contradiction: on the set of his latest film Lost highway." Sight & Sound v. ns6 (July 1996) p. 6-10
UC users only
"Notes on a visit to the set of Lost Highway, David Lynch's first film in four years. The script of this movie is compulsive but baffling. As each scene unfolds before the camera, however, it is clear that Lynch knows exactly what is happening but just does not like to talk about it, putting his trust in images and sounds as opposed to words. What is so striking about watching Lynch at work is that each shot is considered not only in terms of how it can be made visually and conceptually arresting but also in terms of how to encode it with some sense of the whole." [Art Index]

Romao, Tico
"Beyond the Threshold of Legibility: The Lynchian Aesthetic, Characterisation and Lost Highway." Film Studies: An International Review, vol. 3, pp. 59-72, Spring 2002.

Rowe, A. C.; Lindsey, S.
"Reckoning loyalties: white femininity as "crisis.""Feminist Media Studies, vol. 3, no. 2, pp. 173-191, July 2003
"This essay examines two contemporary films, Lost Highway and Alien Resurrection (1997), which centrally figure white femininity as a site of white male anxiety. The uncertainty around the (re)distribution of sexual power and what constitutes that power serves as the basis for the contentious positioning of the white female figures in these films. As they become more empowered as sexual agents, they challenge traditional gendered equations of domination-man = subject and woman = object. Instead, white female positionalities oscillate between sexual subject and sexual object in relation to various forms of white male authority. The authors argue that Lost Highway draws on film noir themes of an emasculating femme fatale who achieves agency at the very moment in which she embraces her role as sexual object-her sexual objectification becomes the precondition for her subjectivity. As sexual subject she emasculates white men in neo-noir style through her refusal to prove her loyalty or subservience to them. In Alien Resurrection, the positioning of the white female figure of Ripley as "hybrid" alien/woman produces uncertainty as to where her loyalties lie-with the alien or with humanity." [Communications Abstracts]

Smith, Murray
"A Reasonable Guide to Horrible Noise (Part 2): Listening to Lost Highway." In: Film style and story: a tribute to Torben Grodal / edited by Lennard H?jbjerg & Peter Schepelern. Copenhagen: Museum Tusculanum Press, 2003.
Main Stack PN1993.5.D4.F55 2003

Travers, Peter
"Lost Highway." Rolling Stone March 6, 1997 n755 p77(2)

Vass, Michael.
"Cinematic meaning in the work of David Lynch; Revisiting Twin Peaks: Fire Walk with Me, Lost Highway, and Mulholland Drive." CineAction 67 (Summer 2005): 12(12).

Warner, Marina
"Voodoo road." ('Lost Highway' by David Lynch) Sight and Sound August 1997 v7 n8 p6(5)
UC users only
"David Lynch's latest motion picture 'Lost Highway' opens on August 22 1997, starring Patricia Arquette and Bill Pullman. The script was written by Lynch in collaboration with Barry Gifford, and the plot centres around switch identities. In 'Lost Highway' Free Jazz saxophonist Fred Madison is spirited from his cell in prison and substituted by mechanic Peter Dayton. Patricia Arquette plays the roles of both Fred's wife Renee, and Peter's girlfriend Alice." [Expanded Academic Index]

Rafferty, Terrence
"Lost Highway." The New Yorker March 10, 1997 v73 n3 p98(2)

Mulholland Drive

Andrews, David.
"An oneric fugue: The various logics of Mulholland Drive." Journal of Film and Video Spring 2004 v56 i1 p25-40
UC users only
"The various logics of David Lynch's film Mulholland Drive is analyzed by briefly summarizing its narrative as a linear structure. It is reported that contrary to the film's reviews, Mulholland Drive is full of narrative significance that is an intentionally packed constellation of possibilities some of which are formal and nondiegetic." [Expanded Academic Index]

Aoun, Steven
"Mulholland Drive." (Video Recording Review) Metro Magazine Spring 2003 i136 p204(1) (768 words)

Bulkeley, Kelly
"Dreaming and the cinema of David Lynch." Dreaming. Vol 13(1), Mar 2003, pp. 49-60
UC users only
"This essay explores the influence of dreams and dreaming on the filmmaking of David Lynch. Focusing particular attention on Mulholland Drive (2001), Lost Highway (1997), Blue Velvet (1986), and the television series Twin Peaks (1990-91), the essay will discuss the multiple dream elements in Lynch's work and how they have contributed to the broad cultural influence of his films. Lynch's filmmaking offers an excellent case study of the powerful connection between dreaming and movies in contemporary American society." (PsycINFO)

Burningham, Bruce R.
"David Lynch and the Dulcineated World." Cervantes, Fall2010, Vol. 30 Issue 2, p33-56, 24p
UC users only
The article discusses scholars' exploration of the relationship between the works of Miguel de Cervantes, particularly "Don Quixote," and those of contemporary culture. Several approaches made include applying contemporary literary and cultural theory to the works of Cervantes and studying the structural impact of Cervantine narrativity. It cites David Lynch's 2001 movie "Mulholland Drive," which it claims is an example of an approach that reworks ideas and issues explored by Cervantes and his own contemporaries.

Cook, Roger F.
"Hollywood Narrative and the Play of Fantasy: David Lynch's Mulholland Drive." Quarterly Review of Film & Video, Oct2011, Vol. 28 Issue 5, p369-381, 13p
UC users only

Dillon, Steven
"Mulholland Drive, Cahiers du cinema, and the horror of cinephilia." In: The Solaris effect : art & artifice in contemporary American film Austin : University of Texas Press, 2006.
MAIN: PN1993.5.U6 D47 2006
Table of contents http://www.loc.gov/catdir/toc/ecip0613/2006014047.html

dOcarmo, Stephen N.
"Postmodernist Quietism in Polanski's Chinatown and Lynch's Mulholland Drive." Journal of Popular Culture, vol. 42, no. 4, pp. 646-662, Aug 2009
UC users only

"Driving Miss Crazy."
Africa News Service April 18, 2002 p1008108u5590 (978 words)

Ekeberg, Bjorn
"No hay banda. Prosthetic memory and identity in David Lynch's Mulholland Drive." Image & Narrative, Issue 10, March 2005 [online journal]

Fennell, Marc
"Stuck in a golf buggy with David Lynch: Mullholland Drive." (Screen Zine)(Movie Review) Australian Screen Education Summer 2003 i30 p183(1) (547 words)

Fuller, Graham
"Babes in Babylon." (David Lynch film, Mulholland Dr.)(Cover Story) Sight and Sound Dec 2001 v11 i12 p14(4)
UC users only
"In David Lynch's new film, Mulholland Drive, nothing is what it seems. The movie is made up of most of a pilot for a television series, which had been rejected by the network, and approximately 45 minutes of new footage. The resulting film is possibly the most audacious salvage job in the recent history of Hollywood. The film, a lethally perfumed neo-noir, is even more remarkable as a successful marriage of form and subject. It is an ambient postmodern Hollywood gothic in which everything is subservient to its structure, especially its stunning dive into apparent illogic. However, it is not characterized by illogic but by dream logic, which allows a stream of non sequiturs and cul de sacs." [Art Index]

Hayles, N. Katherine; Gessler, Nicholas.
"The Slipstream of Mixed Reality: Unstable Ontologies and Semiotic Markers in The Thirteenth Floor, Dark City, and Mulholland Drive." PMLA: Publications of the Modern Language Association of America, vol. 119, no. 3, pp. 482-99, May 2004.
"Whereas first-generation theorists of virtual reality tended to regard simulated worlds as separate from real life, current trends in miniaturization, implants, wearable computers, and embedded sensors have shifted the emphasis to "mixed realities" mingling computationally intensive simulations with input from the real world. Contemporary films and novels have mirrored this trend, creating a blend of simulations mixed with everyday reality that Bruce Sterling has called "slipstream fiction." To explore this phenomenon, we analyze three films that mix simulation with reality: The Thirteenth Floor, Dark City, and Mulholland Drive. These films present themselves initially as murder mysteries, but this pose quickly gives way to even more serious concerns, about the ontological status of the represented worlds. The narrative configurations suggest that when death is no longer the plots' logical end point, storytelling techniques undergo significant transformation, subverting usual assumptions about chronology, subjectivity, and topology and requiring new interpretive techniques. (NKH and NG)" [Ingenta]

Henne, Peter
"Mulholland mysteries: David Lynch returns with enigmatic tale of Hollywood Intrigue." Film Journal International Oct 2001 v104 i10 p14(2) (1818 words)

Hohenadel, Kristin
"Real L.A., the one that's lived in; in 'Mulholland Drive,' David Lynch depicts the unglamorous side of a city dreams are made of. Real L.A., the one that's lived in; in 'Mulholland Drive,'" The New York Times Oct 7, 2001 pAR1(N) pAR1(L) col 2 (35 col in)

Holden, Stephen.
"Mulholland Drive." The New York Times April 12, 2002 pB28(N) col 5 (5 col in)

Holden, Stephen.
"Hollywood, a funhouse of fantasy." (Mulholland Drive)(Review) The New York Times Oct 6, 2001 pA13(N) pA13(L) col 3 (25 col in)

Hudson, Jennifer A.
"'No Hay Banda, and yet We hear a Band': David Lynch's reversal of coherence in Mulholland Drive." Journal of Film and Video Spring 2004 v56 i1 p17-24
UC users only
"The study presented relates David Lynch's aesthetics to poststructural theory and then applies these correlated aesthetics in the reading of the character of Rita and of the Club Silencio scene and setting. The film 'Mulholland Drive' is reviewed in which Lynch successfully reversed coherences, skillfully constructing a mesmerizing puzzle propelling the masses through a mysterious labyrinth of sensual experiences." [Expanded Academic Index]

Johnson, Brian
"Dreams... just a kiss away: David Lynch's latest is a haunting, surrealistic riddle of identity and desire." (Review) Maclean's Nov 5, 2001 p60

Kauffmann, Stanley
"On Films - Sense and Sensibility." (David Lynch's Mulholland Drive)(Critical Essay) The New Republic Oct 29, 2001 p28 (1406 words)
UC users only

Kerr, Philip
"LA confident: Philip Kerr on David Lynch's twisty-turny visit to the Hollywood Hills." (Film). (Mulholland Drive) New Statesman (1996) Jan 14, 2002 v131 i4570 p44(2) (925 words)
UC users only

Lane, Anthony
"Road trips: David Lynch and John Dahl look back." ('Mulholland Drive,' 'Joy Ride') The New Yorker Oct 8, 2001 v77 i30 p88(2)

Le Cain, Maximilian
"In Dreams: A review of Mulholland Drive." Senses of Cinema

Lemtzner, Jay R.; Ross, Donald R.
"The Dreams that Blister Sleep: Latent Content and Cinematic Form in Mulholland Drive." American Imago: Psychoanalysis and The Human Sciences, vol. 62, no. 1, pp. 101-23, Spring 2005.
UC users only

Lesser, Wendy
"In dreams begin responsibilities." (The Critics Film). (evaluation of David Lynch's film "Mulholland Drive")The American Prospect Nov 19, 2001 v12 i20 p36(2) (1170 words)

Lopate, Philip
"Welcome to L.A.: Hollywood outsider David Lynch plunges into Tinseltown's dark psyche." ("Mulholland Drive")(Cover Story) Film Comment Sept-Oct 2001 v37 i5 p44(5)
UC users only
"David Lynch's Mulholland Drive is threatening to unnnerve the aesthetic premises of people who are not intrinsically fans of the filmmaker's work. The movie is compelling, fascinating, well directed, sexy, moving, beautiful to look at, mysterious, and satisfying. It triumphs not from any abandonment of the ominous manner of Lynch's earlier films but from its maturation or fulfillment, brought on by slight adjustments to the formula. For example, the grotesque, surrealist touches are still there, but without quite the coyness attached. Identities are shuffled, but only after the characters have been solidly established. An increased degree of control is in evidence. There is also a new current of adult feeling that eventually supplants the old, one-note titillation of foreboding, or at least coexists with it." [Art Index]

Love, Heather K.
"Spectacular failure: The figure of the lesbian in Mulholland Drive." New Literary History Wntr 2004 v35 i1 p117-132
UC users only
"David Lynch's 2001 film 'Mulholland Drive', which depicts lesbian fantasy bound up with lesbian tragedy and examines some of the most persistent and powerful images of the lesbian, is discussed. In the romance between the two characters, Betty and Rita, lesbianism is presented in its innocent and expansive form.." [Expanded Academic Index]

Lyons, Donald
"La-La limbo." Film Comment Vol XXXIII nr 1 (Jan-Feb 1997); p 2,4

McCarthy, Todd
"Mulholland Dr." (motion picture) Variety May 21, 2001 v383 i1 p15 (1415 words)

McDowell, Kelly
"Unleashing the Feminine Unconscious: Female Oedipal Desires and Lesbian Sadomasochism in Mulholland Dr." Journal of Popular Culture, vol. 38, no. 6, pp. 1037-49, November 2005.
UC users only

McGowan, Todd
"Lost on Mulholland Drive: Navigating David Lynch's Panegyric to Hollywood." Cinema Journal, vol. 43, no. 2, pp. 67-89, Winter 2004.
UC users only
In "Mulholland Drive", David Lynch creates a filmic divide between the experience of desire and the experience of fantasy, thereby revealing that, at the same time that it disguises the real, fantasy also offers us a privileged path to it.

Milutis, Joe
"She's not there." Film Comment. Jan/Feb 2008. Vol. 44, Iss. 1; pg. 16, 2 pgs
UC users only

Newman, Kim
"Mulholland Dr." (motion picture) Sight and Sound Jan 2002 v12 i1 p50(2)
UC users only
"Lynch's new film shows signs of being a lasting work, a film that shifts and changes along with the viewer, upon which all commentary is necessarily provisional. He at once establishes and destroys a fictional universe, while probing the nature of narrative and performance, and offering the practice of karaoke mime as a metaphor for all human activity." [Art Index]

Nochimson, Martha P.
"Mulholland Drive." (Movie Review) Film Quarterly Fall 2002 v56 i1 p37(9)
UC users only

Orr, John
"Inside out : Hitchcock, film noir and David Lynch." In: Hitchcock and twentieth-century cinema / John Orr. London ; New York : Wallflower, 2005.
Main Stack PN1998.3.H58.O77 2005

Ostherr, Kirsten; Abizadeh, Arash
"Amnesia, Obsession, Cinematic U-Turns: On Mulholland Drive." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 19, pp. (no pagination), March 2002.

Perlmuter, Ruth
"Memories, Dreams, Screens."Quarterly Review of Film and Video v. 22 no. 2 (April/June 2005) p. 125-34
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"The writer discusses films that use dreams and memories to convey the tension between remembering and repressing an unacceptable past. In Maya Deren's Meshes of the Afternoon, Ingmar Bergman's Persona, Robert Altman's Three Women, Samuel Beckett's Film, Christopher Nolan's Memento, and David Lynch's Mulholland Drive, repression frequently assumes a neuro-pathological form, in that the films tend to be motivated by characters with either hysterical transference (like an exchange of personalities) or a psychological ailment, such as amnesia, muteness, or paralysis. The psychic disturbances of the characters are often matched by a method of indirection, abstraction, looking away, as well as a host of disassociative devices that dissect the inner thoughts of a subjective consciousness attempting to deal with a horrible past event. Dissassociation, repetition, multiple strands, doublings, and character transgression place such a strain on reality and credibility that some films interrogate whether it is possible to unblock memory and reconstitute the past. The text itself may react to repression and the denial of reality by collapsing, experiencing a textual trauma that parallels mental breakdown." [Art Index]

Rich, B. Ruby
"Twin Peaks." (Amelie, Mulholland Drive)(Review) The Nation Nov 12, 2001 v273 i15 p44 (1892 words)
UC users only

Ridgway, Franklin.
"'You came back!'; or, Mulholland Treib.(Critical essay)." Post Script 26.1 (Fall 2006): 43(19).
UC users only

Roberts, Rex
"Over Drive." (Review) Insight on the News Oct 29, 2001 v17 i40 p27 (569 words)
UC users only

Rybakina, Tatiana
"Lynch tricks." (Feature/Humor)(Mulholland Drive)(Movie Review) Moscow News April 3, 2002 v4018 i13 p12(1)

San Filippo, Maria.
"The "Other" Dreamgirl: Female Bisexuality As the "Dark Secret" of David Lynch's Mullholland Drive (2001)." Journal of Bisexuality, 2007, Vol. 7 Issue 1/2, p13-49, 36p;

Sherwin, Richard K.
"Anti-Oedipus, Lynch: Initiatory Rites and the Ordeal of Justice." In: Law on the screen / edited by Austin Sarat, Lawrence Douglas, Martha Merrill Umphrey. (pp. 106-50).
Main Stack PN1995.9.J8.L42 2005

Shetley, Vernon.
"The Presence of the Past: Mulholland Drive against Vertigo." Raritan. Winter 2006. Vol. 25, Iss. 3; p. 112 (18 pages)
UC users only

Stukin, Stacie
"Mulholland mamas: meet Naomi Watts and Laura Harring, two actresses poised to hit the big time following their sizzling lesbian pas de deux in David Lynch's Mulholland Drive." (film)(Interview) The Advocate (The national gay & lesbian newsmagazine) Oct 9, 2001 p61(2) (676 words)
UC users only

Taubin, Amy
"In dreams." Film Comment Vol XXXVII nr 5 (Sept-Oct 2001); p 51-54
UC users only
"David Lynch's Mulholland Drive literalizes the metaphor of Hollywood as a factory of dreams. Lynch constructs his archetypal film industry story as a journey into the realm of the oneiric where time collapses and nothing, not even the movie itself, is what it at first appears to be. The film, which originated as a pilot for an ABC television series, has a bifurcated, through-the-looking-glass narrative in which the second half turns the meaning of life upside down at the same time as it puts up its own impediments to the audience's search for the truth." [Art Index]

Thomas, Calvin

"It's no longer your Film". Angelaki: Journal of the Theoretical Humanities; Aug2006, Vol. 11 Issue 2, p81-98, 18p
UC users only
The article presents the potential of dreams and their manifestation in the expression for the fulfillment of a wish. It focuses on David Lynch's film "Mulholland Drive," which portrays the dreams being effected in work. The instances from the film demonstrates dream-work and abjection and death drive is revealed throughout. The article also mentions Freud's dream analysis and its working.

Toles, George,
"Auditioning Betty in Mulholland Drive." Film Quarterly, vol. 58, no. 1, pp. 2-13, Fall 2004.

Travers, Peter
"Mulholland Drive." (Movie Review) Rolling Stone Nov 8, 2001 i881 p133(1)

Vaida, Iuliana Corina; Wildman, Victor Harrison
"Mulholland Dr." Psychoanalytic Psychology. Vol 22(1), Win 2005, pp. 113-119
UC users only
"This article provides an interpretation of David Lynch's (2001) film Mulholland Dr. as the dreamscape of Diane Selwyn, played by Naomi Watts. Viewers are caught in a story of murder, mystery, and lesbian love, only to realize that what they have witnessed is merely a dream. As Diane wakes up, memory flashbacks and hallucinations unveil the real events leading to the dream. The viewers are able to trace back the elements of the dream to their real-life sources and decipher the dream's secret agenda. Diane's dream is understood as an attempt to fulfill her deepest wishes and to alleviate her guilt for arranging the murder of her ex-lover. The dream is a failed attempt to escape reality, as well as a preparation for death. Whether or not one views Mulholland Dr. as inspired by psychoanalysis, Lynch's film is a masterful exploration of the unconscious workings of the human mind." (PsycINFO)

Vass, Michael.
"Cinematic meaning in the work of David Lynch; Revisiting Twin Peaks: Fire Walk with Me, Lost Highway, and Mulholland Drive." CineAction 67 (Summer 2005): 12(12).

Weight, Gregory.
"Mulholland Drive." Film & History (03603695), May2002, Vol. 32 Issue 1, p83-84, 2p
UC users only

Young, Johnny.
"Identity as subtrefuge: A Kleinian and Winnicottian Reading of David Lynch's Mulholland Drive." Psychoanalytic Review, Dec2007, Vol. 94 Issue 6, p903-925, 23p

The Straight Story

Cole, Kevin L.
"Geographies of Hope: Kathleen Norris and David Lynch." In: The gift of story : narrating hope in a postmodern world / edited by Emily Griesinger, Mark Eaton. Waco, Tex. : Baylor University Press, c2006.
Main (Gardner) Stacks PN771 .G54 2006

Gallardo, Pere.
"Ageing Mechanisms: The Body/Machine Metaphor in David Lynch's The Straight Story and Alfred Uhry's Driving Miss Daisy." In: The aesthetics of ageing : critical approaches to literary representations of the ageing process Lleida, Catalunya, Spain : Dept. of English and Linguistics, University of Lleida, 2002. [UC Davis PR9080.5 .A37 2002; No UCB holdings]

Langan, Celeste.
"Mobility Disability." Public Culture, vol. 13, no. 3, pp. 459-484, fall 2001
UC users only

Orgeron, Devin.
"Revising the Postmodern American Road Movie: David Lynch's The Straight Story.Full Journal of Film & Video, Winter2002, Vol. 54 Issue 4, p31-46, 16p
UC users only

Twin Peaks [movie and TV series)

Ansen, David
"The kid from Mars; David Lynch brings his weird and magical vision to prime time." (Twin Peaks television program)Newsweek April 9, 1990 v115 n15 p66(4)

Birns, Nicholas
"Telling inside from outside, or, who really killed Laura Palmer." ('Twin Peaks' Special Issue) Literature-Film Quarterly Oct 1993 v21 n4 p277(10)
UC users only
"David Lynch's television series 'Twin Peaks' has different answers to the question of who killed Laura Palmer: one answer in narrative and one answer in form. The narrative reveals that the killer is her father, possessed by the spirit BOB. The form implicates the character Ben Horne while the narrative simultaneously reveals the real killer. The real solution to the crime is provided outside of the story's form, in an inside narrative opposed to the form." [Expanded Academic Index]

Carrion, Maria M.
"'Twin Peaks' and the circular ruins of fiction: figuring (out) the acts of reading." ('Twin Peaks' Special Issue) Literature-Film Quarterly Oct 1993 v21 n4 p240(8)
UC users only
"David Lynch's television series 'Twin Peaks' uses a narrative structure which resembles the process of reading. Separate stories and different meanings can be read out of the series. For example, the recurring owls can be a symbol of readers, or the audience who must read the narrative to understand the series. The simple plot of a murder mystery cannot be the only reading, as the series expanded into a complex tale of many characters and many murders and supernatural elements." [Expanded Academic Index]

Carroll, Michael
"Agent Cooper's errand in the wilderness: 'Twin Peaks' and American mythology." ('Twin Peaks' Special Issue) Literature-Film Quarterly Oct 1993 v21 n4 p287(9)
UC users only
"David Lynch's television series 'Twin Peaks' makes use of archetypal American mythology, exemplified by the Leatherstocking novels of James Fenimore Cooper. The novels portray a hero of the wilderness, and this role is occupied by Agent Cooper in the series, who must track down a killer. The archetype of the evil Indian is portrayed in the series by the serial killer spirit BOB, while the noble savage is portrayed by Deputy Hawk. The appeal of the series comes from a traditional mythical story besides its postmodern innovation." [Expanded Academic Index]

Davenport, Randi
"The knowing spectator of 'Twin Peaks': culture, feminism, and family violence." ('Twin Peaks' Special Issue) Literature-Film Quarterly Oct 1993 v21 n4 p255(5)
UC users only
"David Lynch's television series 'Twin Peaks' provides a feminist perspective on the widespread occurrence of violence against women in American society. The audience is confronted with an ever-widening spiral of discovery of violence with male villains, a daughter's murder and child abuse. The story archetype of the Seductive Daughter is repudiated in the tale of incest and murder of Laura Palmer. She was a victim who feared both abandonment and murder, and there was no glamorization of her plight." [Expanded Academic Index]

Full of secrets: critical approaches to Twin Peaks.
Edited by David Lavery. Detroit: Wayne State University Press, c1995.
MAIN: PN1992.77.T88 F85 1995
Contents via Google books

George, Diana Hume
"Lynching women." (popularity of television program "Twin Peaks") Ms. Magazine Nov-Dec 1990 v1 n3 p58(3)

Goldstein, Warren
"Incest for the millions; saying no to David Lynch." (incest on TV program Twin Peaks) (column) Commonweal Dec 21, 1990 v117 n22 p741(2)

Grimes, William
"Welcome to Twin Peaks and valleys. (rise and fall of television series 'Twin Peaks') The New York Times May 5, 1991 v140 s2 pH1(N) pH1(L) col 2 (50 col in)

Hampton, Howard
"Twin Peaks." (popularity of television program "Twin Peaks") Artforum International Sept 1991 v30 n1 p103(3)

Horn, Miriam
"TV's leap into the unknown: ABC hopes its avant-garde "Twin Peaks" will win back upscale viewers." U.S. News & World Report April 23, 1990 v108 n16 p56(1) (808 words)

Huskey, Melynda
"Twin Peaks': rewriting the sensation novel." ('Twin Peaks' Special Issue) Literature-Film Quarterly Oct 1993 v21 n4 p248(7)
UC users only
"David Lynch's television series 'Twin Peaks' resembles a sensation novel with its complexity and reversals. The original sensation novel was Wilkie Collins' 'The Woman in White,' published in 1861. It contained the elements of mysterious characters, dark secrets, family crimes and the construction of knowledge by a hero. Justice was meted out by private individuals instead of authorities, and horrors were only partially dealt with. The quest of the television agent Cooper fits pattern of the sensation novel." [Expanded Academic Index]

Jameson, Richard T.
"Twin Peaks". Film Comment March-April 1990 v26 n2 p73(2)

Johnson, Brian D.
"Twin Peaks". Maclean's April 9, 1990 v103 n15 p67(1) \

Kimball, Samuel
""Into the light, Leland, into the light": Emerson, Oedipus, and the blindness of male desire in David Lynch's 'Twin Peaks.'" (a TV serial about murder and incest)Genders Spring 1993 n16 p17(18)
"David Lynch's 'Twin Peaks,' a television serial that mocks the Emersonian concept of father, god, and nature, portrays the concept of family as a symbol of cultural rebirth. 'Twin Peaks' satirizes transcendentalism and reveals male desire in paternal terms. It portrays the failure of a cultural tradition where the aggression of a father, who repeatedly rapes and then kills his daughter in a fit of incestuous desire, becomes the central theme." [Expanded Academic Index]

Lafky, Sue
"Gender, power, and culture in the televisual world of Twin Peaks: a feminist critique." Journal of Film and Video Vol LI nr 3-4 (Fall-Winter 1999-2000)
UC users only
A feminist critique of "Twin Peaks", which examines its regressive and violent representations of women.

Lavery, David
"Peaked out." ('Twin Peaks' Special Issue) (Editorial) Literature-Film Quarterly Oct 1993 v21 n4 p239(2)
UC users only
"David Lynch's television series 'Twin Peaks' has provided fertile ground for academic analysis and criticism. Influences have been seen from Edmund Spenser's book 'The Faerie Queen,' Arthurian legends, Charles Brockden Brown's book 'Wieland,' Walt Whitman and James Fenimore Cooper. The series also provides an example of the changing relation between television and society in the 1990s, with its postmodern complexity." [Expanded Academic Index]

Ledwon, Lenora
"'Twin Peaks' and the television gothic." ('Twin Peaks' Special Issue) Literature-Film Quarterly Oct 1993 v21 n4 p260(11)
UC users only
"David Lynch's television series 'Twin Peaks' is a work of postmodern Gothic storytelling. The Gothic elements of incest, doubles, haunted sites, narrative interpolation, mirrors, the grotesque and supernatural occur. The definitive Gothic traits of a difficult narrative and a central mystery in a family also occur. The series illustrates the potential of television to be a perfect medium for Gothic stories." [Expanded Academic Index]

Leonard, John Leonard
"The quirky allure of Twin Peaks." (TV program) New York May 7, 1990 v23 n18 p32(8)

Lopate, Phillip
"Has David Lynch peaked?" Esquire Sept 1990 v114 n3 p113(1)

Marcus, Greill
"Peaks - Fire Walk with Me."Greill Artforum International March 1993 v31 n7 p9(1) (259 words)

McConnell, Frank
"Twin Peaks." (TV)Commonweal May 18, 1990 v117 n10 p320(3)

Newman, Kim
"Twin Peaks: Fire Walk with Me."Sight and Sound Nov 1992 v2 n7 p53(2)

Nochimson, Martha
"Desire under the Douglas firs: entering the body of reality in "Twin Peaks."" Film Quarterly Winter 1992 v46 n2 p22(13)
UC users only
"In 'Twin Peaks' David Lynch and Mark Frost lead their character Dale Cooper in a search for self-knowledge. By the end, Cooper, who resembles the traditional detective in many ways and does not in many others, realizes the duality of good and evil in his nature." [Expanded Academic Index]

O'Connor, John J.
"Twin Peaks." (TV) The New York Times April 6, 1990 v139 pB1(N) pC34(L) col 1 (20 col in); April 30, 1990 v139 pB3(N) pC16(L) col 1 (16 col in)

O'Connor, Tom.
"Bourgeois Myth versus Media Poetry in Prime-time: Re-visiting Mark Frost and David Lynch's Twin Peaks." Social Semiotics, Dec2004, Vol. 14 Issue 3, p309-333, 25p;
UC users only

Olson, Greg
"Twin Peaks: Fire Walk With Me." Film Comment May-June 1993 v29 n3 p43(4)

Olson, Greg
"See you in the trees."('Twin Peaks' - the movie) Film Comment Nov-Dec 1991 v27 n6 p79(2)
UC users only
Production of the Twin Peaks movie sequel 'Fire Walk With Me' has begun in the state of Washington. David Lynch is directing this movie, which is actually a precedes events in the television series.
Production of the Twin Peaks movie sequel 'Fire Walk With Me' has begun in the state of Washington. David Lynch is directing this movie, which is actually a precedes events in the television series.

Pearson, Harry
"Twin Peaks: Fire Walk with Me." Films in Review Nov-Dec 1992 v43 n11-12 p416(1)

Piccoli, Sean
"Show's weirdness peaks interest." ("Twin Peaks" television program) Insight on the News May 21, 1990 v6 n21 p62(2)

Plummer, Laura
"'I'm not Laura Palmer': David Lynch's fractured fairy tale." Literature-Film Quarterly Oct 1997 v25 n4 p307(5)
UC users only
"'Twin Peaks' and 'Fire Walk with Me' are essentially fairy tales in the sexually-awakening vein of 'Sleeping Beauty.' Sexual desire is transferred from princess to father to prince. Laura Palmer is David Lynch's sleeping beauty. She fails to obey the laws of the kingdom and her punishment is awakening." [Expanded Academic Index]

Pollard, Scott
"Cooper, details, and the patriotic mission of 'Twin Peaks.'" ('Twin Peaks' Special Issue) Literature-Film Quarterly Oct 1993 v21 n4 p296(9)
UC users only
"David Lynch's television series 'Twin Peaks' is a patriotic narrative of rescue for mainstream middle class society. The town of Twin Peaks is a symbol for America, and Agent Cooper is the hero who will redeem it from an invading evil. The central value is the ideal middle class, holding steady in the wake of revelations of bizarre evil spirits and killers. Cooper has an artistic appreciation of the good in the town, and he analytically tracks and fights evil, to save the American way of life." [Expanded Academic Index]

Pond, Steve
"Naked Lynch." (director David Lynch) Rolling Stone March 22, 1990 n574 p51(4)

Rafferty, Terrence."
"Twin Peaks." The New Yorker April 9, 1990 v66 n8 p86(2)

Rochlin, Margy
"What's wrong with this picture; it may look normal, but Twin Peaks is David Lynch country." American Film April 1990 v15 n7 p64(1)

Romney, Jonathan
"Twin Peaks: Fire Walk with Me." New Statesman & Society, Nov 20, 1992 v5 n229 p33(2)

Rosenbaum, Jonathan
"Twin Peaks." Tikkun Nov-Dec 1990 v5 n6 p95(4)

Vass, Michael.
"Cinematic meaning in the work of David Lynch; Revisiting Twin Peaks: Fire Walk with Me, Lost Highway, and Mulholland Drive." CineAction 67 (Summer 2005): 12(12).

Woodward, Richard B.
"Twin Peaks." The New York Times April 8, 1990 v139 s2 pH31(N) pH31(L) col 1 (29 col in)

Zoglin, Richard
"Like nothing on earth: David Lynch's Twin Peaks may be the most original show on TV." Time April 9, 1990 v135 n15 p96(2) (1513 words)

Zoglin, Richard
"A sleeper with a dream: after the eerie Twin Peaks, TV may never be the same." Time May 21, 1990 v135 n21 p86(2) (1235 words)

Wild at Heart

Ansen, David
"Wild at Heart."Newsweek August 27, 1990 v116 n9 p61(1)

Blake, Richard
"Wild at Heart."America ct 13, 1990 v163 n10 p249(1)

Canby, Vincent
"Wild at Heart." The New York Times August 17, 1990 v139 pB1(N) pC1(L) col 3 (24 col in)

Corliss, Richard
"Wild at Heart."Time August 20, 1990 v136 n8 p63(1) (324 words)

Corliss, Richard
"Wild at Heart."Time June 4, 1990 v135 n23 p79(1) (875 words)

Denby, David
"Wild at Heart."New York August 27, 1990 v23 n33 p60(2)

Denzin, Norman K.
"Wild about Lynch: beyond Blue velvet." In: Images of postmodern society: social theory and contemporary cinema. p. 65-81. London ; Newbury Park: Sage Publications, 1991.
MAIN: PN1995.9.S6 D4 1991 >

Dunne, Michael
"'Wild at Heart' three ways: Lynch, Gifford, Bakhtin." (David Lynch, Barry Gifford, Mikhail Bakhtin) (motion picture 'Wild at Heart') Literature-Film Quarterly Jan 1995 v23 n1 p6(8)
UC users only
"The concept of dialogism associated with Mikhail Bakhtin finds its expression in David Lynch's motion picture 'Wild at Heart.' According to Bakhtin, every dialogue has its roots to a particular historical context as it gives indication of a social milieu. This is evident in the dialogue of various characters in Barry Gifford's novel 'Wild at Heart,' which Lynch had adapted into a film. Even in the film, Lynch makes use of vulgar language to convey the social background of certain characters." [Expanded Academic Index]

Grant, E.
"Wild at heart." Films in Review Vol XLII nr 1-2 (Jan-Feb 1991); p 49-51

Hume, Kiel.
"Politicizing Lynch/Lynching Politics: Reification in Blue Velvet and Wild at Heart." Quarterly Review of Film & Video, May2010, Vol. 27 Issue 3, p219-228, 10p
UC users only

Johnson, Brian D.
"The wizard of weird: David Lynch paves a violent yellow-brick road." (the film "Wild at Heart") Maclean's Sept 3, 1990 v103 n36 p50(2)

Kauffmann, Stanley
"Wild at Heart." The New Republic Sept 24, 1990 v203 n13 p32(2) (1184 word)
UC users only

Klawans, Stuart
"Wild at Heart." The Nation Sept 17, 1990 v251 n8 p284(4) (2294 words)
UC users only

Lopate, Phillip.
"David Lynch's Wild at heart." In: Totally, tenderly, tragically: essays and criticism from a lifelong love affair with the movies. p. 144-46. New York: Anchor Books/Doubleday, 1998.
MAIN: PN1995 .L627 1998

McKinney, Devin
"Wild at Heart." Film Quarterly Winter 1991 v45 n2 p41(6)
UC users only

Moore, Suzanne
"Wild at Heart." New Statesman & Society August 31, 1990 v3 n116 p27(2)

Murphy, Kathleen
"Dead heat on a merry-go-round." (David Lynch's "Wild at Heart") I> Film Comment Nov-Dec 1990 v26 n6 p59(4)
Discusses "Wild at heart" in relation to "The fugitive kind", and David Lynch's earlier films.

Powers, John
"Bleak chic." American Film Vol XII nr 5 (Mar 1987); p 47-51
Explores the new gothic sensibility in US films of the 1980's, with analysis of "Blue velvet" and "Something wild" in particular.

Rafferty, Terrence
"Wild at Heart." The New Yorker August 27, 1990 v66 n28 p90(2)

Rainer, Peter
"Wild at Heart." American Film March 1991 v16 n3 p62(1)

Rohter, Larry
"David Lynch pushes America to the edge." The New York Times August 12, 1990 v139 s2 pH1(N) pH1(L) col 4 (53 col in)

Rosenbaum, Jonathan
"Wild at Heart." Sight and Sound Sight and Sound Autumn 1990 v59 n4 p277(1

Travers, Peter
"Wild at Heart." Rolling Stone Rolling Stone Sept 6, 1990 n586 p35(1)

Welsh, James M.
"Wild at Heart." Films in Review Vol XLI nr 11-12 (Dec 1990); p 554-555

Willis, Sharon
"Do the wrong thing: David Lynch's perverse style." In: High contrast: race and gender in contemporary Hollywood film. p. 131-57. Durham, N.C.: Duke University Press, 1997.
MAIN: PN1995.9.S47 W56 1997
PFA: PN1995.9.S47 W56 1997
ETHN: PN1995.9.S47 W56 1997 Housed at Ethnic Studies Library. >

Willis, Sharon
"Special effects: sexual and social difference in Wild at heart." Camera Obscura nr 25-26 (Jan-May 1991); p 274-295
Racial and gender depictions in "Wild at heart", noting press silence surrounding these issues.

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