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Le Temps returné: Temporal Distortion in À la recherche du temps perdu and Twin Peaks: The Return

Bruhn, Maury

L'Esprit créateur, 2022-09, Vol.62 (3), p.127-139 [Periódico revisado por pares]

Baltimore: Johns Hopkins University Press

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  • Título:
    Le Temps returné: Temporal Distortion in À la recherche du temps perdu and Twin Peaks: The Return
  • Autor: Bruhn, Maury
  • Assuntos: Audiences ; French literature ; Motion pictures ; Narratives ; Plot (Narrative) ; Proust, Marcel (1871-1922) ; Sculpture ; Television networks
  • É parte de: L'Esprit créateur, 2022-09, Vol.62 (3), p.127-139
  • Descrição: Richard Dienst writes that during the original seasons "Twin Peaks was the most videotaped show ever on television," and this drive to rewatch and analyze the show has only increased with the release of the third season in the digital age.3 Careful attention to the overlaps between the Recherche and The Return has two benefits. In 2017, Lynch and Frost released the third season on Showtime, an eighteen-hour saga in which Dale returns from the Black Lodge after twenty-five years but lives most of the season as Dougie Jones, a hapless, bumbling insurance agent. In the inverse of Proust's interest in flux, The Return incorporates static visual art by disrupting the smooth flow of the digital recording. "7 Lynch's training in the plastic arts is particularly apparent in The Return, where the visual imprint is in some ways more akin to his work in painting and sculpture than to his filmography.8 The viewer's experience of narrative flow is disrupted when, for example, images freeze and slide as if the playback had a glitch, or freeze and then peel apart, turning the three-dimensional narrative world into a two-dimensional screen that can be torn.
  • Editor: Baltimore: Johns Hopkins University Press
  • Idioma: Inglês;Francês
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  • Realização: ABCD-USP USP   Logos de Redes Sociais: Freepik

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