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Memory and Imagination in FilmDavid Lynch: Painting in Film

Memory and Imagination in Film: David Lynch: Painting in Film [Artistic genres and categories have been mixed up and conflated since the 19th century, with one art being able to lead into another: Romanticism saw the phenomenon of writers who were painters and vice versa, such as William Blake or Victor Hugo, and poets who were art critics, such as Théophile Gautier and Baudelaire. Baudelaire spoke of the beautiful fatality of his time, of the very laws of modern aesthetics: art, he suggested, needs another art in order to exist, as if it were to find its own identity through the strange nostalgia of what it is not. Every art pushes the limits of its own nature and aspires to gain what it lacks: painting wishes to be prose, poetry to be music or colour, a dramatic canvas or a tale. This is how cinema — a composite medium, and impure art par excellence — feeds on diverse artistic forms. As said by Scorsese: ‘Although film is primarily a visual medium, it combines elements from all the arts — literature, music, painting, and dance.’1 And often the most accomplished directors make films after having worked in theatre, as in the cases of Alfred Hitchcock or Orson Welles; or after having been inspired by literature, as in the case of François Truffaut; or in the case of many contemporary filmmakers by television. For his part, David Lynch — who works in all of today’s visual media, from watercolours and oils to the Internet — began as a painter. In 1964, he studied at the Corcoran School of Art in Washington, D.C., entering the Pennsylvania Academy of the Fine Arts in Philadelphia the following year; this was a bright period both for American art and for this celebrated school.] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

Memory and Imagination in FilmDavid Lynch: Painting in Film

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Publisher
Palgrave Macmillan UK
Copyright
© Palgrave Macmillan, a division of Macmillan Publishers Limited 2014
ISBN
978-1-349-31743-1
Pages
182 –211
DOI
10.1057/9781137319432_10
Publisher site
See Chapter on Publisher Site

Abstract

[Artistic genres and categories have been mixed up and conflated since the 19th century, with one art being able to lead into another: Romanticism saw the phenomenon of writers who were painters and vice versa, such as William Blake or Victor Hugo, and poets who were art critics, such as Théophile Gautier and Baudelaire. Baudelaire spoke of the beautiful fatality of his time, of the very laws of modern aesthetics: art, he suggested, needs another art in order to exist, as if it were to find its own identity through the strange nostalgia of what it is not. Every art pushes the limits of its own nature and aspires to gain what it lacks: painting wishes to be prose, poetry to be music or colour, a dramatic canvas or a tale. This is how cinema — a composite medium, and impure art par excellence — feeds on diverse artistic forms. As said by Scorsese: ‘Although film is primarily a visual medium, it combines elements from all the arts — literature, music, painting, and dance.’1 And often the most accomplished directors make films after having worked in theatre, as in the cases of Alfred Hitchcock or Orson Welles; or after having been inspired by literature, as in the case of François Truffaut; or in the case of many contemporary filmmakers by television. For his part, David Lynch — who works in all of today’s visual media, from watercolours and oils to the Internet — began as a painter. In 1964, he studied at the Corcoran School of Art in Washington, D.C., entering the Pennsylvania Academy of the Fine Arts in Philadelphia the following year; this was a bright period both for American art and for this celebrated school.]

Published: Oct 13, 2015

Keywords: Rear Window; Bright Period; Strange Place; Lacanian Psychoanalysis; Pennsylvania Academy

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