His vulgarity can also be said to map onto the relation between The Last House on the Left and The Virgin Spring, Lynch himself having a similarly sullying relation to Bergman, Hour of the Wolf alone containing over half of the Lynchian motifs in their dignified form. This comparison is all the more fitting since Lynch's films are unfairly characterized as style over substance, rather, they are all substance, the bad kind, praxis, over style, the good kind, theory; just as The Last House on the Left is a "Marxist" retelling of The Virgin Spring, a reduction to the cretinous Material.
People who over-analyze cinema are honestly a joke.
Zachary Morales
Good analysis but you're kind of casting pearls before swine here, this is a shit posting board so all you're gonna get is people calling you gay
Christopher Walker
I would pay actual American dollars just for the privilege of talking to Sara Jay.
Parker Anderson
WHY? She's fucking hideous and can't give a blowjob to save her life.
Adam Morgan
Reply, sodomites.
Dominic Green
Dune is the only David Lynch movie I've seen and the only film of his I want to see.
Ryder Cox
>rather, they are all substance, the bad kind, praxis, over style, the good kind, theory Elaborate on that
Isaac Long
For example: Blue Velvet is based on action for its own sake. All the characters' actions are just as frivolous as Jeffrey's, one can no more infer anything about Frank's abuse of Dorothy and her son than one can infer about Jeffrey's investigation. Far from making the film Real, in the Lacanian sense (I hate Lacan), it removes all potential gravity since the characters are just cretinous automata. Does anyone truly remark the film's gravity? Jeffrey's implied rape, his depraved relation with Dorothy, whatever her son might have suffered? No. Everyone intuitively knows that they are all impervious to Morality, Theology, etc., perhaps even impervious to the "qualia" of suffering.
Liam Ortiz
>Everyone intuitively knows that they are all impervious to Morality, Theology, etc., perhaps even impervious to the "qualia" of suffering. I disagree.
Matthew Hall
I completely disagree with this. Jeffrey’s actions aren’t frivolous. He’s investigating into the nature of good and evil and uncovering repressed aspects of his own psyche in process. I don’t have any fancy words to back up what I’m saying though
Ian James
Does the film's notoriety have anything to do with the gravity of its depicted events?
Joseph Brooks
Why would it? What sort of weight do you expect from such a focused, intimately limited exploration of voyeurism, sex and furtive malignance? It's effective at achieving its goal of emotional and intuitive response.
You do not find anything uncanny about the contrast between the male on male rape, the sadomasochism, etc. and its public image of being just "cool", "arthouse", "neo-noir"?
Ian Reyes
Somebody get Jay Bauman on this
Eli Thomas
I don't much care what the public thinks about a piece of art, much less a film like this so reliant on abstraction. I care about what I take from it and to some extent what the people I converse with about it feel about it.
Chase Anderson
Ah, the prominent Deleuzian analysis scholar Jay Bauman. He certainly has much to say about Lacanian deconstruction of Lynch's oeuvre.
