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David Lynch Auteur

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Blue Velvet and Twin Peaks, directed by David Lynch, can be considered crime fiction films, with noticeable archetypes of the genre contained within. Moreover, these two distinct films can be considered subversive and their director, David Lynch, as an auteur director. This essay will begin to discuss the notion of the auteur and how Lynch fits this concept, while thinking of Blue Velvet and Twin Peaks as post-modern products. Furthermore, the two texts in question will be considered as crime fiction material and analysed in regards to their traditional/archetypal elements and the subversive and Lynchian. The essay will conclude with what the unusual mix of traditional and subversive material means for interpreters of Lynch’s work.

David Lynch …show more content…

The music, set, lighting, and crew are all impacted directly by Lynch in order for him to put his distinctive touch upon the films. The auteur theory and Politique des auteurs both apply to Lynch, as his collection of works are uniquely his own and distinguishable to the rest of his portfolio. David Cook (1996, p960) defines the auteur …show more content…

The films in focus proceed in a series of events, like traditional crime fiction the narrative goes from the discovery of a crime, following a detective and their investigation and finally the criminal being brought to justice. Although Twin Peaks’ ending is open to interpretation as a conclusive and satisfying ending, when comparing it to that of a straight forward crime fiction narrative. The detective versus the criminal is another archetypal element that both of these films exhibit. Frank Booth and makeshift detective Jeffrey Beaumont are the detective and criminal in Blue Velvet, with Special Agent Dale Cooper and Sheriff Harry S. Truman against ‘BOB’ in Twin Peaks. The detective versus the criminal is one of the most basic archetypes of crime

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“Here is where noir comes into its own, introducing themes of true moral and psychological complexity. Cornered, The Blue Dahlia, Black Angel, Phantom Lady, Deadline at Dawn, D.O.A., The Big Clock, The Big Heat are stories of manhunts conducted by investigators with personal motives” (Hirsch 173). This is an excellent brutal crime drama that demonstrates a real threat back in the 1950s with dealing with the national crime

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Auteur is the french word for author and is a term given to those far and few between who were responsible for handling and directing most of, if not all post and prior production of a film, including techniques, advertising, and choice of cast. So much so that they are considered to be the "author" of the film. Alfred Hitchcock has no doubt left an indelible and engraved mark on all of cinematography as one of the most successful and influential auteurs of all time, as seen through the wide range of techniques Hitchcock employed throughout his films such as voyeurism, doubleness, and the famed magcuffin, as can clearly be seen in the film "Rear Window" as well as "Shadow of a Doubt". Hitchcock also showed immense dedication to the post and

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Tim Burton’s distinct style became evident in his very first films and stayed clear in his later film, while the plot of Burton’s films vary greatly his style stays pronounced. This can be seen across his many movies from Charlie and the Chocolate Factory, Edward Scissorhands, “Vincent”, and “Frankenweenie”. In all of these films his distinct style is developed through the use of a strong contrast of high and low key lighting to show contrast between characters and circumstances, a recurring motif of mobs antagonizing the antagonist, and the frequent use of shot reverse shots to show the development of the relationship between the outsider and the people on the inside. With the use of a contrast between high and low-key lighting, a recurring mob motif, and the use of shot-reverse-shots Tim Burton develops his hopelessly bleak style. One of the most evident cinematic techniques that Tim Burton uses to develop his hopelessly bleak style is the use of a strong contrast of high and low-key lighting or colors.

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