데이비드 린치의 패스티스 영화와 포스트모더니즘
The Pastiche Films of David Lynch and Postmodernism
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The films of David Lynch are strongly influenced by the aesthetics of Postmodernism in the sense of Fredric Jameson, in view of the fact that they emphasize a Pastiche. The Pastiche as an empty parody criticizes the world, in which the utopia was lost, by showing the character of the nostalgia film. In addition, the films of Lynch show people, who suffer from schizophrenia in the sense of Gilles Deleuze. This recognizes that they have a presumption for the generation of new senses in the sense of Deleuze. The difference of the continuing repetitions of the schizophrenia functions as the principle of narration strategy. Lynch’s Road Movie Wild at Heart, which became a cult film, is considered as an example of it. This film consists of different genres. Therefore, it shows inevitably the form of the fragmentary narrations. The Road Movie without places of destination exposes the crisis of the action images in the sense of Deleuze. Beyond that the film shows intermediality, which is operated by the Pastiche of the different mass-medial or art forms such as pop musics, comics and films. Elvis Presley’s pop song Love me tender (1956) and Chris Isaac’s pop song Wicked Game (1989), E. C. Segar’s Comics Popeye and Sidney Lumet’s film The Fugitive Kid (1960) are examples of the artificial, which is produced by the Pastiche. Besides, it is characteristic that Wild at Heart takes after many elements of Victor Fleming’s film The Wizard of Oz (1939), in which the intertextuality between the two films stimulates opposite or negative senses. Intertextuality or intermediality, the difference of genres, fragmentary narrations, the uncertainty of places, and the cliché-figures, which come by the artificial of Pastiche to the expression, articulate the aesthetic characterizations of postmodernism.
Abstract
The films of David Lynch are strongly influenced by the aesthetics of Postmodernism in the sense of Fredric Jameson, in view of the fact that they emphasize a Pastiche. The Pastiche as an empty parody criticizes the world, in which the utopia was lost, by showing the character of the nostalgia film. In addition, the films of Lynch show people, who suffer from schizophrenia in the sense of Gilles Deleuze. This recognizes that they have a presumption for the generation of new senses in the sense of Deleuze. The difference of the continuing repetitions of the schizophrenia functions as the principle of narration strategy. Lynch’s Road Movie Wild at Heart, which became a cult film, is considered as an example of it. This film consists of different genres. Therefore, it shows inevitably the form of the fragmentary narrations. The Road Movie without places of destination exposes the crisis of the action images in the sense of Deleuze. Beyond that the film shows intermediality, which is operated by the Pastiche of the different mass-medial or art forms such as pop musics, comics and films. Elvis Presley’s pop song Love me tender (1956) and Chris Isaac’s pop song Wicked Game (1989), E. C. Segar’s Comics Popeye and Sidney Lumet’s film The Fugitive Kid (1960) are examples of the artificial, which is produced by the Pastiche. Besides, it is characteristic that Wild at Heart takes after many elements of Victor Fleming’s film The Wizard of Oz (1939), in which the intertextuality between the two films stimulates opposite or negative senses. Intertextuality or intermediality, the difference of genres, fragmentary narrations, the uncertainty of places, and the cliché-figures, which come by the artificial of Pastiche to the expression, articulate the aesthetic characterizations of postmodernism.
참고문헌 (12)
- Jens Eder, "Die Postmoderne im Kino. Entwicklungen im Spielfilm der 90er Jahre", Oberflächenrausch. Postmoderne und Postklassik im Kino der 90er Jahre, Münster, pp.9~61 (2002)
- Petra Grimm, "Erzählstrategien der Gewalt und Sieg der Konvention", A Strange World. Das Universum des David Lynch. Kiel, pp.113~122 (1999)
- Linda Hutcheon, "Postmodern Film?", Postmodern after-images, London, Sydney, pp.Auckland, 1977
- Fredric Jameson, "Postmodernism and Consumer Society", Fredric Jameson, The Cultural Turn, London, 1988, pp.1~20
- Klaus Kreimeier, "Banalität in ungewohnter Intensität?", Die Postmoderne im Kino, Marburg, pp.180~184 (2002)
- Julia Kristeva, "Die Revolution der poetischen Sprache", Frankfurt a. M, ~ (1978)
- Jaques Lacan, "Schriften I", Berlin, ~ (1986)
- Pekka Leiß, "Das Bild des Hundes in den Filmen David Lynchs", A Strange World. Das Universum des David Lynch, Kiel, pp.262~285 (1999)
- Didi Neidhart, "From Blue Velvet Underground to Wild Mainstream. Zur Funktion der Popsongs in den Filmen Blue Velvet, Wild At Heart und Lost Highway", A Strange World. Das Universum des David Lynch, Kiel, pp.299~316 (1999)
- Maurice Lahde, "Eckhard Pabst", A Strange World. Das Universum des David Lynch, Kiel, pp.95~110 (1999)
- Chris Rodley, "Lynch über Lynch", Frankfurt a. M, ~ (2002)
- Georg Seeßlen, "David Lynch und seine Filme", Marburg, ~ (2003)