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David Lynch /

Michel Chion ; translated by Robert Julian ; 'Bridge-man' translated by Trista Selous.

Book Cover
Main Author: Chion, Michel
Published: London : BFI, 2006.
Edition: 2nd ed.
Topics: Motion picture producers and directors - United States - Biography. | Film. | Lynch, David, 1946- - Criticism and interpretation. | Lynch, David Regisseur. | Lynch, David, 1946-
Regions: United States.
Genres: Biography. | Criticism, interpretation, etc.
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050 4|aPN1998.3.L96|bC4813 2006
082 04|a791.430233092|222
100 1 |aChion, Michel,|d1947-
245 10|aDavid Lynch /|cMichel Chion ; translated by Robert Julian ; 'Bridge-man' translated by Trista Selous.
250 |a2nd ed.
260 |aLondon :|bBFI,|c2006.
300 |aix, 246 pages :|billustrations ;|c24 cm
336 |atext|btxt|2rdacontent
337 |aunmediated|bn|2rdamedia
338 |avolume|bnc|2rdacarrier
500 |aPrevious edition: 1995.
504 |aIncludes bibliographical references and index.
505 00|tChrono-Lynch (From Six Figures to Fire Walk with Me)|g1 --|gI|tA Film That Stays With You (Six Figures, The Alphabet, The Grandmother, Eraserhead)|g3 --|g1|tThe author and the work --|g2|tChildhood and parents --|g3|tAn ideal world? First memories of the cinema --|g4|tFirst studies in painting. An express trip to Europe --|g5|tFrom painting to film painting. Six Figures --|g6|tPhiladelphia's mark --|g7|tThe Alphabet --|g8|tThe Grandmother. Description and analysis: birth and parents --|g9|tThe Grandmother (contd). Birth and death of the grandmother --|g10|tLife as an electrical assembly. The film as a first essay in cinematography --|g11|tLynch and the AFI --|g12|tLynch's favourite films and their supposed influences. Bergman, Fellini --|g13|tFavourite films (contd). Kubrick, Hitchcock, Wilder --|g14|tFrom the project for Gardenback to Eraserhead. Preparations for a feature film --|g15|tThe story of Eraserhead --|g16|tThe film's crew, actors and collaborators --|g17|tShooting Eraserhead. Montage. Sound recording. Alan Splet --|g18|tThe first screenings. Last-minute cuts --|g19|tEraserhead becomes a cult film. Ben Barenholtz --|g20|tThe cinematographic style of Eraserhead: archaism --|g21|tThe sound concept of the film. Continuity and discontinuity --|g22|tFrom The Grandmother to Eraserhead: an impossible death? --|gII|tImmobile Growth (The Elephant Man, Dune)|g45 --|g1|tLynch and Cornfeld. The Elephant Man project. Mel Brooks --|g2|tThe historical John Merrick. The film adaptation --|g3|tShooting and the crew. Photography. Sound design. Music --|g4|tThe script of The Elephant Man --|g5|tSocial difference in The Elephant Man --|g6|tThe actors --|g7|tRitual theatre. Popular film. A film of faces --|g8|tThe contribution of English actors. A film left to make itself --|g9|tThe director's image and legend --|g10|tPropositions refused or without effect: Lucas, Coppola --|g11|tDune the novel and its originality: ecology, psychedelics and onomastics --|g12|tPrevious adaptation projects. Raffaella de Laurentiis --|g13|tLynch's adaptation: obstacles and bold strokes. The religious theme. The genetic theme. The role of women. An essay in non-linear narration. The role of words. The 'generalised inner voice' --|g14|tTechnical and creative collaboration in Dune --|g15|tCasting Dune --|g16|tShooting and its problems --|g17|tMusic and sound design. The film's reception. Its faults and distinctive tone --|g18|tThe waking dream of an 'elected' being --|g19|tA film-maker of the immobile --|gIII|tWelcome to Lynchtown (Blue Velvet, The Cowboy and the Frenchman, Twin Peaks)|g78 --|g1|tLynchtown, a base camp for the imagination --|g2|tBlue Velvet, an original script --|g3|tThe film's actors: Kyle MacLachlan, Laura Dern, Isabella Rossellini, Dennis Hopper --|g4|tPhotography and visual aims. Fred Elmes. Angelo Badalamenti. Sound design --|g5|tThe mysteries of the script. Are Sandy and Dorothy the same woman? Real and fantasised parents --|g6|tThe 'primal scene' of Blue Velvet. The depressed mother. 'Be alive. Do it for Van Gogh.' --|g7|tLove letters from father to son --|g8|tLynch's classic. His expression of love. The forever scene. Daily life transformed --|g9|tThe Cowboy and the Frenchman --|g10|tMark Frost. The Twin Peaks phenomenon. Different authors and directors --|g11|tLynch and television --|g12|tThe concept of the series --|g13|tTwin Peaks: the place. Who killed Laura Palmer? --|g14|tThe characters of the series: are they all mad? Three categories --|g15|tAn extraterrestrial being in Twin Peaks: Dale Cooper --|g16|tA mad world. An epic universe. The theme of comfort. A pool in the heart of nature --|g17|tThe role of citations. A recreation of romanticism --|g18|tTears in Lynch --|g19|tMusic as a unifying element. The vertical axis. The register of murmuring --|g20|tThe dead woman spoken about and the living woman who is forgotten. --|gIV|tCine-Symphonies for Her (Wild at Heart, Industrial Symphony No. 1, Twin Peaks: Fire Walk with Me)|g114 --|g1|tLynch's 'artistic method'. The power of ideas. The author as filter --|g2|tIn search of 'cine-symphonic' cinema. The project for Wild at Heart --|g3|tBarry Gifford's novel --|g4|tLynch's adaptation. The principle of contrast --|g5|tCasting the film. Couples --|g6|tDifferent versions. An aura of violence. Visual style and sound design. Power and murmurs. Music --|g7|tThe 'verbal rape' scence. Violene and innocence. Dream parents --|g8|tA film of childhood. Marietta. Cut-ins and gusts. A fragile ballad in the night --|g9|tIndustrial Symphony No. 1. The Dream of the Broken Hearted. Julee Cruise --|g10|tThe project for Fire Walk with Me. Laura's past --|g11|tThe film's script --|g12|tTwin Peaks in reverse. The theme of food --|g13|tCasting the film. Sound design. Music. Photography --|g14|tThe film's reception. Where did the fire go? Putting one foot in front of the other. Surfaces and looming --|g15|tReturn to The Grandmother. The unmythified woman. All-women-in-one. The interval between parallel worlds. Heaven or hell --|g16|tThe romantic film-maker of our times --|tLynch-Kit (From Alphabet to Word)|g151 --|tAlphabet (alphabet) --|tBody (corps) --|tChair (siege) --|tClose (pres) --|tCord (corde) and Scissors (ciseaux) --|tCurtain (rideau) --|tDark (noir) --|tDog (chien) --|tDream (reve) --|tEar (oreille) --|tEclipse (eclipse) --|tEnd (bout) --|tErasure (effacement) --|tFence (cloture) --|tFloating (flotter) --|tFlow (flux) --|tFor ever (eternel) --|tGarden (jardin) --|tGroup (groupe) --|tGrowing (grandir) --|tHut (cabane) --|tInsect (insecte) --|tInside (dedans) --|tKit (kit) --|tLink (lien) --|tLog (buche) --|tLying (couche) --|tNight (nuit) --|tOpen mouth (ouverte [bouche]) --|tPool (flaque) --|tPower (puissance) --|tReaction (reaction) --|tScale (echelle) --|tSetting (cadre) --|tSmoke (fumee) --|tSpeech (parole) --|tStage (scene) --|tStanding (debout) --|tSurface (surface) --|tTexture (texture) --|tVoid (vide) --|tWhole (tout) --|tWind (vent) --|tWord (mot) --|tBridge-Man (On the Air, Hotel Room, Lost Highway, The Straight Story, Mulholland Dr.)|g189 --|tLynch-Doc.
520 |a'Twin Peaks', 'Blue Velvet', 'Wild at Heart' and 'Eraserhead' have turned David Lynch into an American cult figure. This lively book is a comprehensive account of the only director to have a smash hit TV series in the same year as winning the Golden Palm at Cannes.
546 |aTranslated from the French.
583 1 |acommitted to retain|c20160630|d20310630|fEAST|u|5CtW|zThis title retained by Wesleyan University Library on behalf of the Eastern Academic Scholars Trust (EAST) print archive
600 10|aLynch, David,|d1946-|xCriticism and interpretation.
600 17|aLynch, David,|d1946-|2fast|0(OCoLC)fst00300017
600 17|aLynch, David|cRegisseur.|2swd
600 14|aLynch, David,|d1946-
650 0|aMotion picture producers and directors|zUnited States|vBiography.
650 7|aMotion picture producers and directors.|2fast|0(OCoLC)fst01027225
650 07|aFilm.|2swd
651 7|aUnited States.|2fast|0(OCoLC)fst01204155
655 7|aBiography.|2fast|0(OCoLC)fst01423686
655 7|aCriticism, interpretation, etc.|2fast|0(OCoLC)fst01411635
776 08|iOnline version:|aChion, Michel, 1947-|tDavid Lynch.|b2nd ed.|dLondon : BFI, 2006|w(OCoLC)607650114
776 08|iOnline version:|aChion, Michel, 1947-|tDavid Lynch.|b2nd ed.|dLondon : BFI, 2006|w(OCoLC)609569586
994 |a92|bIAD

Staff View for: David Lynch