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

 
==Altro==
*''Twin Peaks''’ use of '''specters''' demonstrates how '''haunting characters can become a catalyst''' for the emergence of a new reality, without the character being physically present. Take for example the specter of Laura Palmer who appears on numerous occasions to Cooper during his visits to the Black Lodge. The apparition that Cooper sees is not the real Laura Palmer, but the cousin of the Man From Another Place. This quasi-Laura Palmer represents her specter. Additionally Laura Palmer represents a kind of haunting in that she is still responsible for the instigation of the story, but also largely absent from ''Twin Peaks''. This is demonstrated through several instances where she whispers into Cooper’s ear evidence that the viewer is not privy to, nor which Cooper can remember. The absence occurs where the image of Laura as an innocent teenager the people of Twin Peaks knew, was replaced by that of a troubled girl, who unbeknownst to them, was being influenced by the entities of the Black Lodge. '''Laura Palmer''' can be seen as the hauntological specter in that she influences the narrative of the show both through '''the appearance and absence of her presence'''. (Justin MacLeod, "Specters of The Black Lodge: An Engagement With Hauntology and Specters Through Twin Peaks", ''To Be Decided: Journal of Interdisciplinary Theory'', Vol. 3, 2018.)
 
*[...] '''i personaggi non sono malvagi in sé''' nei film di Lynch; è '''è il male''' a indossarli come maschere'''. I cattivi nei film di Lynch sono sempre esuberanti, orgasmici, assolutamente presenti a se stessi all'apice della loro malvagità, e questo a sua volta perché non sono soltanto mossi dal male, ma ne sono letteralmente ispirati: si sono abbandonati a una Forza Oscura molto più grande di qualunque singola persona. E se questi cattivi sono, nei loro momenti peggiori, irresistibilmente affascinanti sia per l'obiettivo del regista che per il pubblico, non è perché Lynch stia appoggiando la causa del male o stia dandone un'immagine romantica ma perché ne sta facendo una diagnosi - e lo sta diagnosticando senza la comoda corazza della disapprovazione, riconoscendo apertamente il fatto che una delle ragioni per cui il male è così potente è che è tremendamente vitale, energico, ed è generalmente impossibile distoglierne lo sguardo. (da David Foster Wallace, ''David Lynch non perde la testa'', in ''Tennis, tv, trigonometria, tornado e altre cose divertenti che non farò mai più'', Minimum Fax, Roma 1999, p. 255.)
 
*La Tv, attraverso Lynch e Frost, da "focolare domestico" della società di massa, diventa l'araldo di un '''messaggio cupo e disperato'''. Nessuno più può aspettarsi di "vivere felice e contento". (Adolfo Fattori, Epifania dell’inquietudine. Colpa e mistero in Twin Peaks, 28/04/2018, http://www.officinasedici.org/2018/03/28/epifania-dellinquietudine-colpa-e-mistero-in-twin-peaks/)
 
*{{NDR|Sulla scena finale}} Lynch, in a flashback episode created from the original footage, dissolves the very scene that launched the show as '''the image of Laura Palmer’s''', plastic-wrapped body '''simply evaporates''' from the water, while Pete Martell is shown taking a path that leads away from the beach on which he found her body. The entire history of Twin Peaks as we know it, it turns out, is a '''glitch''' and we are left without a sense of resolution and with far more questions than we started with. Nostalgia for Lynch then is at odds with the narrative; it is itself a glitch. (Wendy Haslem, Radha O'Meara, Jennifer Beckett, "Twin Peaks: Hyperconscious Histories of Mediation", ''Refractory: a Journal of Entertainment Media'', Vol. 29, 2017.)
 
*Many of his films, such as ''Blue Velvet'', ''Lost Highway'' and ''Inland Empire'', deliberately blur distinctions between real life and dreams by focusing on characters that are both '''dreamers and investigators'''. Simon Riches aptly defines these protagonists as ‘knowledge seekers’ that ‘uncover concealed information.’ (27) He asserts that Cooper, however, is distinct from Lynch’s other knowledge seekers, because their dreaming is separate from acquisition of investigative knowledge, while Cooper’s dreams ‘provide him with knowledge of the world outside of his mind’ and so inform his real life investigation. (29) (Mikhail L. Skoptsov, ''Prophetic Visions, Quality Serials: Twin Peaks' new mode of storytelling'', Series - International Journal of TV Serial Narratives, vol. 1, n. 1, 2015, p. 40)
 
*[...] '''visionaries''' can receive two types of messages: ‘connotative’ and ‘denotative.’ The '''‘connotative’ vision''' appears as a series of '''symbolic and cryptic images representing literal events''' that have occurred in the series’ past or will have occurred in the future. The transmitter deliberately obfuscates its true meaning, providing the visionary and the audience with the motivation to decipher it. As more narrative events transpire over time, the vision’s literal meaning grows clearer, though it is often possible to realize this only through the benefit of hindsight.<br>Contrariwise, the '''‘denotative’ visions''' literally '''depict narrative events''' that have, will or could take place, leaving only the '''context''' surrounding them '''ambiguous'''. In this case, there tends to be a clear delineation into past and future sub-types.<br>'''Past-oriented visions''' either raise questions and mysteries about the past that compel the visionaries to unravel them in the present or, conversely, resolve questions about past events that are relevant to the present. '''Future-oriented''' ones, meanwhile, usually prompt the visionary to change the future by averting a disastrous or undesirable outcome that is yet to take place. (Mikhail L. Skoptsov, ''Prophetic Visions, Quality Serials: Twin Peaks' new mode of storytelling'', Series - International Journal of TV Serial Narratives, vol. 1, n. 1, 2015, p. 42)
 
*'''Nostalgia''' e '''perturbante''' sono d’altronde ambedue categorie strutturate su un investimento profondo sulla dimensione della '''Casa''', di uno spazio originario di innocenza e di pienezza: che tale spazio si configuri come un oggetto perduto di cui si sente la mancanza (nostalgia), o viceversa come un ambiente che rivela una spaventosa ambiguità, un angosciante vuoto, alle sue fondamenta (perturbante), in entrambi i casi esso si rivela irrimediabilmente compromesso. (Lorenzo Marmo, "Tornando a casa. Desiderio spettatoriale e dispersione narrativa in Twin Peaks: The Return di David Lynch", SigMa - Rivista di Letterature comparate, Teatro e Arti dello spettacolo, n. 1, 2017, p. 541)
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