conclusion - fix your hearts or die
Throughout this paper, I have argued that alternative approaches to David Lynch’s Twin Peaks franchise are possible, that his work is so rich that many cross-disciplinary theories could exist simultaneously and not be exhausted. In having this belief I have not only examined established theoretical texts, but have provided a framework that encompasses themes that are explicit in his works but also, from which to examine this and, in the future, other works. I have worked in a linear fashion in order to parallel the emergence of cultural paradigms that have illustrated a distinct evolution in the franchise, even within the short period between the end of season two and the film being released. I proposed in my methodology (though refrained from using it as a tool for analysis) that Lynch’s work, like Toffler posits, is not aiming to shock the viewer with a damning visions, but is merely presenting ideas of possibility (though of course, Lynch does this within the field of cinema as Toffler speaks about socio-political landscapes). A very small glimpse at these possibilities, I believe, has been presented throughout this paper.
In chapter one, I outlined a new framework by which to understand the off-screen post-production devices which augment and complicate the spectator experience. It was my intention to break down further the concept of the uncanny as it appears in Twin Peaks, and provide examples of the problematized spaces which contain the uncanny events, I proposed that this occurred on both a small and large scale and, conclusively, objects of terror that are able to invade ‘homely’ spaces are what I have determined to be 'a violation'. As posited by Roberto Harari in his introduction to one of Lacan’s seminars;
In chapter one, I outlined a new framework by which to understand the off-screen post-production devices which augment and complicate the spectator experience. It was my intention to break down further the concept of the uncanny as it appears in Twin Peaks, and provide examples of the problematized spaces which contain the uncanny events, I proposed that this occurred on both a small and large scale and, conclusively, objects of terror that are able to invade ‘homely’ spaces are what I have determined to be 'a violation'. As posited by Roberto Harari in his introduction to one of Lacan’s seminars;
It [the family] is the welcoming, warm nucleus where each person can feel secure and sheltered. Nevertheless, the family is also the place where the subject undergoes the worst experiences (with regard to affects, of the effect of structure) that she or he will suffer. (2001, p. 62)
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To present these violations happening within the home (or home-alike) space has a problematizing effect upon the viewer. For example, I have refrained, throughout chapter one, from concentrating too heavily on the occurrences of the Black Lodge, an unfamiliar ‘otherworldly’ space. For a violation to occur in an unfamiliar or ‘otherworldly’ space, the effect is not as impactful and, as a cinematic trope, visions of possible futures are often set in dystopic future that we cannot quite imagine as ‘worldly’. I proposed that the violation is a widely-used trope within the show and that Lynch often utilises the home (or home-alike) spaces within Twin Peaks to host themes of aberrant family structures, pure and evil universes, and (unseen) horror through his unique psychoanalytic perspective that is, then, bestowed upon the viewer for her/him to engage with through their own psyche.
In chapter two, I have attempted to map the (often) horrifying events of errant electricity and noise, in their various forms, as a trope used by Lynch in incurring an anxious sense of unease and fragmented horror within the spectator. In this film, a prequel, the wider plot is somewhat predictable, we know that the central character will be murdered and we know by whom. Despite this, Lynch builds upon this sense of impending doom with the techniques he uses to augment a scene. Once the viewer is comfortable with these instances of strobe or industrial noise appearing before a horrific event, they start to appear in scenes that are seemingly innocent, which subverts the expectation and implies that, again, some of the horror is appearing off screen. I have aimed to sketch a delineation of these errant scenes as to show how a scene can become ‘Lynchian’ or, more precisely, visually represent what is unavailable to us via language. The uncanny narrative in FWWM is made evident by the error in everything – time, space, light, dark, noise and silence.
Chapter 3, written alongside and immediately after the conclusion of The Return, has sought to examine and analyse the aesthetics of the show without the privilege of time-passed to reflect wholly. However, my immediate gravitation was towards to very distinct digital aesthetic of glitch that permeates the show. Almost simultaneous to the evolution of the Twin Peaks franchise, glitch aesthetics have matured from an underground movement to a popularized cultural artefact that can be commonly-found in many aspects of popular culture including film, music video and television. On a wider level, glitch aesthetics respond to, and challenge, the increasing strive for user-friendly technology, standards of perfection and carefully curated content. In this way, Lynch has also reacted to and challenged the aesthetic perfection of other contemporary shows. Here, Mark Nunes argues that by acknowledging the ‘error’, we can override some of the preconceptions with it as a negative anomaly and, instead, accept it as a drive to “transcend the missteps of human execution" (2011, p. 11). While visually the show benefits from the technology now available and one that assumes high-definition viewing, Lynch has not shied away from often inserting a visual that is not only oddly-placed but defies visual perfection.
I proposed in my methodology that the term 'Lynchian' is not enough to describe the effect of Lynch’s work and that I hoped to provide a framework by which this could be further delineated. To do this, I have outlined some very specific errant devices – violation, errant electricity/noise and glitch – that I believe can be used to develop our understanding of this odd moniker and, more importantly, where his work stands in relation to, and how it differs from, its contemporaries. I have, hopefully, shown that a consistent use of these devices severs each work from another whilst simultaneously tying them together as not a linear narrative, but as a series of cultural artefacts that should be experienced on a ‘buy the ticket, take the ride’ basis. My objection to writing this paper as a Dale Cooper-style escapade into all the mysteries that Twin Peaks hosts, is hopefully justified in an acceptance that the mysteries are not for solving but for experiencing.
In chapter two, I have attempted to map the (often) horrifying events of errant electricity and noise, in their various forms, as a trope used by Lynch in incurring an anxious sense of unease and fragmented horror within the spectator. In this film, a prequel, the wider plot is somewhat predictable, we know that the central character will be murdered and we know by whom. Despite this, Lynch builds upon this sense of impending doom with the techniques he uses to augment a scene. Once the viewer is comfortable with these instances of strobe or industrial noise appearing before a horrific event, they start to appear in scenes that are seemingly innocent, which subverts the expectation and implies that, again, some of the horror is appearing off screen. I have aimed to sketch a delineation of these errant scenes as to show how a scene can become ‘Lynchian’ or, more precisely, visually represent what is unavailable to us via language. The uncanny narrative in FWWM is made evident by the error in everything – time, space, light, dark, noise and silence.
Chapter 3, written alongside and immediately after the conclusion of The Return, has sought to examine and analyse the aesthetics of the show without the privilege of time-passed to reflect wholly. However, my immediate gravitation was towards to very distinct digital aesthetic of glitch that permeates the show. Almost simultaneous to the evolution of the Twin Peaks franchise, glitch aesthetics have matured from an underground movement to a popularized cultural artefact that can be commonly-found in many aspects of popular culture including film, music video and television. On a wider level, glitch aesthetics respond to, and challenge, the increasing strive for user-friendly technology, standards of perfection and carefully curated content. In this way, Lynch has also reacted to and challenged the aesthetic perfection of other contemporary shows. Here, Mark Nunes argues that by acknowledging the ‘error’, we can override some of the preconceptions with it as a negative anomaly and, instead, accept it as a drive to “transcend the missteps of human execution" (2011, p. 11). While visually the show benefits from the technology now available and one that assumes high-definition viewing, Lynch has not shied away from often inserting a visual that is not only oddly-placed but defies visual perfection.
I proposed in my methodology that the term 'Lynchian' is not enough to describe the effect of Lynch’s work and that I hoped to provide a framework by which this could be further delineated. To do this, I have outlined some very specific errant devices – violation, errant electricity/noise and glitch – that I believe can be used to develop our understanding of this odd moniker and, more importantly, where his work stands in relation to, and how it differs from, its contemporaries. I have, hopefully, shown that a consistent use of these devices severs each work from another whilst simultaneously tying them together as not a linear narrative, but as a series of cultural artefacts that should be experienced on a ‘buy the ticket, take the ride’ basis. My objection to writing this paper as a Dale Cooper-style escapade into all the mysteries that Twin Peaks hosts, is hopefully justified in an acceptance that the mysteries are not for solving but for experiencing.