Differenze tra le versioni di "Utente:SunOfErat/Sandbox2"

 
*This list of sonic devices does not exhaust all the sonic technologies deployed in the series, and more devices could have been engaged with such as the Double R diner’s aberrant jukebox, Gordon Cole’s hearing aid or even the log lady’s log, which similarly seems to inscribe significant events in a sonic form only audible to Margaret. Nevertheless, the sonic technologies discussed above are sufficient to demonstrate the manner in which they serve as portals to the black lodge. Indeed, the black lodge itself is, in a sense, nothing more than a network of recordings, the frenetic acting out of pre-recorded scenarios of characters who are in a kind of limbo, where they only exist as so many recordings or traces of their former selves. This is perhaps where Cooper inevitably fails, in imagining he can act heroically and morally inside a realm where everything has already been recorded, and thereby haunted and possessed, and there is no other option than to become yet another malevolent recording, as indicated in the final lines of dialogue: Cooper/BOB’s repetitive “How’s Annie?” In this demonic ending to the series, Cooper has become, not only reversed into BOB in the mirror he compulsively cracks his head against, but also a spectral and manipulated recording or simulacrum of his former self, which, like Edison’s demonstrations of his recording/playback device, is subject to manipulations and reversals that extend to a moral and spiritual level. This seems to clearly echo the “scandalous” statement that Kittler takes from Villiers de l’Isle Adam that “the soul is a notebook of phonographic recordings,”16 meaning that the inscription, storage, and transmission of vibrations enacted by phonographic devices becomes a perfect analogue for neurophysiological functioning in the era of technological modernity. In this final scene of the series, Lynch is perhaps making a similar point to the one demonstrated in the “Silencio” scene of Mulholland Drive: that the whole world of Twin Peaks, with its quirky characters and narrative events so adored by audiences, is only a montage of audiovisual recordings of pre-determined and pre-scripted statements and gestures, extracted from pre-existing cinematic and televisual models, repertoires and genres. These performances in turn are caught up in a haunted, spectral world, whose logic is already pre-determined and manipulated, and which speaks to us via the range of sonic devices discussed here, further remediated by the dispositif of television. (Michael Goddard, "[http://sensesofcinema.com/2016/twin-peaks/sonic-technologies-in-twin-peaks/ Telephones, Voice Recorders, Microphones, Phonographs: A Media Archaeology of Sonic Technologies in Twin Peaks]", in Kirsty Fairclough, Michael Goddard, Anthony N. Smith (a cura di) "I'll See You in Twenty Five Years: The Return of Twin Peaks and Television Aesthetics", Senses of Cinema, n. 79, luglio 2016.)
 
*Nell’'''intermittenza del suono''' che cattura lo spettatore, non solo hanno un ruolo fondamentale gli apparati di trasmissione sonora quali microfoni degli anni cinquanta, telefoni di bachelite, l’apparecchio acustico anacronistico dell’agente Cole (David Lynch), il registratore che quasi precede gli assistenti telefonici virtuali della telefonia mobile contemporanea, o ancora la voce distorta e l’insieme di trame sonore al limite dell’organico che si intrecciano con la musica di Badalamenti. Il pianto, il singhiozzo, il gemito che sostituisce la parola in Twin Peaks è lo stesso che si diffuse quando alcuni cineasti come Dreyer in ''Vampyr'' (1932) compresero che il passaggio al sonoro, invece di estinguere il regno delle ombre dal cinema muto mostrava un abisso sussurrante che si estendeva attraverso la loquacità che aveva colonizzato certi generi e certe storie a cui mancava la parola sin dall’invenzione del cinematografo. (Ivan Pintor Iranzo, "[http://www.officinasedici.org/2017/05/26/fuoco-cammina-con-me-la-costruzione-dello-spettatore-nella-serie-twin-peaks3-di-ivan-pintor-iranzo/ Fuoco, cammina con me: la costruzione dello spettatore nella serie Twin Peaks/3]", 26/05/2017)
 
*Attraverso le puntate di Twin Peaks i motivi musicali non solo costituiscono dei principi costruttivi, ma accompagnano la messa in scena dell’inquietudine creata attraverso il perverso, osceno e distorto dramma gestuale. Attraverso l’inserimento di una retorica onirica, Lynch non solo certifica la propria appartenenza alle forme di rappresentazione del male, ma si avvicina con l’aiuto della musica, alla costruzione scenica di qualcosa che si ripete nel radiatore di Eraserhead – La mente che cancella, sul palcoscenico di Velluto Blu o nel Cabaret Silenzio di Mulholland Drive. (Ivan Pintor Iranzo, "[http://www.officinasedici.org/2017/05/26/fuoco-cammina-con-me-la-costruzione-dello-spettatore-nella-serie-twin-peaks3-di-ivan-pintor-iranzo/ Fuoco, cammina con me: la costruzione dello spettatore nella serie Twin Peaks/3]", 26/05/2017)
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