DOCSLIB.ORG

Download As A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download As A TWIN PEAKS #2.002 by Harley Peyton Scanned by runningdog. Original formatting duplicated as closely as possible. For clarification all duplicate pages removed. Revised lines are bold with new lines enclosed within [brackets]. Special note: this is a faithfull duplication that includes the original spelling, formatting and series related errors. REVISIONS: July 7, 1990 - BLUE July 11, 1990 - PINK July 13, 1990 - GREEN July 18, 1990 - YELLOW 1. #2.002 ACT ONE FADE IN: 1. INT. GREAT NORTHERN DINING ROOM - DAY Morning. CAMERA MOVES slowly through the dining room, a walking POV. AGENT COOPER and ALBERT ROSENFIELD sit at a table up ahead. ANOTHER ANGLE reveals this to be the POV of the ASIAN MAN. He continues, allows a waitress to seat him. CUT TO: 2. INT. GREAT NORTHERN CORRIDOR - NIGHT Cooper and Albert sit at the table arrayed with breakfast foods. Griddlecakes, orange juice, coffee. Cooper eats, expounds. Albert listens. COOPER Buddhist tradition reached the Land of Snow in the fifth century A.D. The first Tibetan king to be touched by the Dharma was Ha-tho-tho-ri gnyan-btsan. He, and all succeeding kings were known collectively as the Happy Generations. Some histories place the King in the water snake year of 213 A.D. Others in 173 A.D. A water-ox year. Amazing, isn't it? The Happy Generations. Cooper takes a sip of hot coffee, beams. Albert, deadpan, just stares for a very long beat. Then, finally: ALBERT Agent Cooper. I'm thrilled to pieces that the Dharma came to King Ho-Ho and the Land of Schmoes. I really am. But right now I'm trying hard to focus on the more immediate problems of our own century. Right here in Twin Peaks. COOPER (without malice) You'd be surprised by the connections between the two. ALBERT Color me amazed. COOPER (on to business) Ronette Pulaski has come out of her coma. ALBERT And? (CONTINUED) #2.002 2. 2. CONTINUED: COOPER I'm thinking Ronette has quite a story to tell, once she regains her ability to speak. ALBERT She's not talking. COOPER Wakened, but silent. Probably shock. Cooper pulls two police sketches out of his briefcase. Leo Johnson. And Bob, the long- haired man. COOPER (continued) I intend to show her these. (re appropriate sketch) Leo Johnson. And Bob - the man Sarah Palmer saw in her vision. The man who came to me in my dream. ALBERT (the usual sour sarcasm) Has anyone seen 'Bob' on Earth in the last few weeks? COOPER Not yet. Cooper takes a big bite of griddlecake. Albert produces a report, speaks while referring to it: ALBERT Fine. I performed the autopsy on Jacques Renault. Contents of the deceased's stomach revealed beer cans, a Maryland license plate, half a bicycle tire, a goat, and a small wooden puppet. Goes by the name of Pinocchio. COOPER (delighted) You're making a joke. ALBERT (deadpan) I like to think of myself as one of the Happy Generations. (back to report) The killer snuffed the fat with a pillow. He was Wearing gloves. Tape used to bind his wrists was stolen from hospital supply closet. That's all. If Jacques has any secrets he'll be taking them underground. (CONTINUED) #2.002 3. CONTINUED:(2) COOPER The mill? ALBERT Preliminaries suggest arson. I nominate Leo Johnson. COOPER We need a statement from Shelly Johnson. ALBERT Hospital says she's well enough. (beat) How do you feel? COOPER Me? ALBERT I believe it's customary to inquire after the health of one recently plugged with a thirty-eight. Three times. COOPER (almost touched) Thanks for asking. ALBERT Don't get sentimental. COOPER (back to business) Who shot me, Albert? ALBERT My men are interrogating hotel guests. The usual bumper crop of rural know-nothings and drunken fly fishermen. No leads so far. The world's most decrepit room service waiter remembers nothing out-of-the-ordinary about the night in question. No surprise there. Senor Drool Cup has, shall we say, a mind that wanders. He - The waitress interrupts, delivers a check. Cooper holds out a hand, signals he'll pay for it. As Cooper signs his name and room: (CONTINUED) #2.002 4. 2. CONTINUED:(3) COOPER I appreciate your coming, Albert. We need the very best. ALBERT (confessing) Dedication to duty isn't exactly what brought me here, Cooper. COOPER What is? ALBERT Windom Earle. Cooper reacts with surprise. Muted trepidation. COOPER Agent Earle. He retired. ALBERT To a comfortable chair complete with wrist restraints at the local laughing academy. COOPER What happened? ALBERT Nobody knows. Your former partner flew the coop, Coop. Into thin air. COOPER (quietly) That's not good ... HOLD ON Cooper for a beat. CUT TO: 3. INT. GREAT NORTHERN DINING ROOM - DAY Across the room, someone is watching. It is the Asian Man. He looks long at Agent Cooper. CUT TO: 4. EXT. HOSPITAL - DAY Establish. CUT TO: #2.002 5. 4. INT. RONETTE PULASKI'S HOSPITAL ROOM - DAY RONETTE PULASKI gazes at the ceiling with blank expression. ANOTHER ANGLE reveals Cooper and Truman at her bedside. A NURSE in the background. Cooper peers at the girl, then: COOPER Ronette? The eyes move, nothing else, to acknowledge them. Cooper produces the two police sketches, prepatory to showing them to her. COOPER Ronette, I'm going to show you some pictures. I want you to tell me if you have seen these men before. I want to know if they are the men that hurt you. His words spark a memory, the memory brings pain. All in her dark eyes. Cooper holds the sketch of Leo Johnson toward her. COOPER Do you recognize this man? A long beat. Then a surprise. Ronette's arm lifts into the air, as if separate from the rest of her body. Cooper and Truman react. Ronette gingerly takes the sketch from Cooper, brings it closer to her eyes. As if to better view it. Cooper wonders: COOPER (gently) Can you see, Ronette? Ronnette nods, almost imperceptibly. She stares at the sketch for a long, long beat. TRUMAN Do you know him? A long beat. Ronette proceeds slowly, as though underwater. Finally she nods. Yes. COOPER Is this the man that hurt you? Another beat. Then, finally ... she shakes her head. No. (CONTINUED) #2.002 6. CONTINUED: TRUMAN (confirming) No. Cooper takes the sketch from Ronette, holds out the second picture. The long-haired man named Bob. Again, Ronette reaches for it, brings the sketch toward her face. Near-sighted, this is the only way she can clearly see it. SUDDENLY Ronette's entire body seems to seize, her eyes dart about wildly. COOPER Ronette. Ronette drops the sketch, her hand now knifes through the air, jagged motions, up and down, to the side, and up and down. The nurse hurries forward to aid or restrain. But Cooper intervenes. COOPER (to Nurse) Wait. (to Truman) She's trying to spell something. Paper. Truman produces paper and pen, hands them to the girl. Ronette clutches the pen, begins to scrawl. COOPER Ronette. Is this the man that hurt you? Ronette nods furiously as she writes, tears stream down her checks. She finishes, holds the paper toward them. Cooper takes it. They read. ANGLE ON PAPER Ronette's fearful scrawl. TRAIN. LAURA. TRAIN. BACK TO SCENE TRUMAN The train car. But Cooper's not listening. He's staring at the sketch of Bob. The hard features. The long flowing hair. Meanwhile, Ronnette begins to moan. Softly at first. Then building to a terrified scream. HOLD ON this tableau. Ronette upon the hospital bed. Cooper, Truman, and the nurse hovering about her. CUT TO: #2.002 7. 6: EXT. ONE-EYED JACK'S - DAY Establish. CUT TO: 7: INT. ONE-EYED JACK'S - DAY The Get Acquainted Room. Early morning ease pervades. Girls lounge in robes, smoke cigarettes. Two blondes play checkers in a corner. A third girl, NANCY, the Pickup seen previously in Audrey's room, [sits and reads the morning paper.] AUDREY HORNE passes through the morning, looking for clues. She sits next to Nancy. AUDREY Morning. NANCY You say that as if it's news. Audrey lights up, ignores the rebuff, gestures toward the newspaper. AUDREY Well, what is news? NANCY Cookout at the Packard Mill. Audrey peers at the banner headline: MILL BURNS. She reacts with unbridled delight. AUDREY Wow. NANCY Arson maybe. AUDREY (knowing) I'll bet. Nancy, do me a favor? (off girl's look) I'm lookin' for somebody. Audrey produces a photograph torn from a high school yearbook. Ronette Pulaski. AUDREY We worked Spokane together. Shriners and stuff. NANCY Ronette. (CONTINUED) #2.002 8. 7. CONTINUED: AUDREY (alert) You know her? NANCY Sorta. Just a summer girl. She didn't stay long. AUDREY (digging deeper) Ronette had a friend. Laura. Ever see them together? Suddenly: a male voice. It's EMORY BATTIS. Battis enters the Get-Acquainted Room, pauses to greet familiar faces. Audrey tamps out her cigarette, looks for exit. AUDREY Got to go. Maybe we can talk sometime. With that, Audrey, rises, steps away. Nancy looks up from her paper, watches her leave. There's a cold look in her eyes. READING GIRL Anything you say, 'Miss Horne.' Busted. Nancy turns her gaze toward Battis by the door. CUT TO: 8. EXT. APARTMENT HOUSE - DAY DONNA HAYWARD stands at the door, carrying a covered meal tray. She checks a piece of paper, doublechecks the address. And knocks. DONNA Hello? Mrs. Tremond? Meals On Wheels. A long beat. Donna's about to step away.
Load more

Recommended publications
  • Twin Peaks #1.003
    TWIN PEAKS #1.003 by Harley Peyton FIRST DRAFT: September 26, 1989 REVISIONS: October 3, 1989 Converted to PDF by Andre for PDFSCREENPLAYS.NET ACT ONE FADE IN: EXT. GREAT NORTHERN HOTEL - DAY Morning breaks over the stately hotel. CUT TO: INT. GREAT NORTHERN DINING ROOM - DAY DALE COOPER, at the corner table, takes a sip of coffee and orders breakfast from waitress TRUDY. COOPER Shortstack of griddlecakes, maple syrup, lightly heated and a slice of ham. Nothing beats the taste of maple syrup when it collides with ham. TRUDY Griddlecakes, side a' ham. Warmup? Cooper nods appreciatively. Trudy refills his cup, exits. Cooper takes a sip, nearly hums with approval. Then looks up to find AUDREY HORNE standing before him. Audrey smiles, beautiful, rubs a little sleep out of her eyes. AUDREY Good morning, Colonel Cooper. COOPER Just Agent, Audrey. Special Agent. AUDREY (caressing the words) Special Agent. COOPER Please. Sit down. AUDREY (unsure) I'm in a hurry. COOPER For what? She doesn't know what to say or do. So she offers a nervous shrug instead. 2. COOPER (CONT'D) Audrey, that perfume you're wearing is incredible. AUDREY Do you really think so? Cooper takes a pen from his pocket, hands it to her with a napkin. COOPER Write your name down for me. AUDREY (eager) Okay. She takes the pen and writes carefully, hands it back to Cooper. He looks at it. COOPER Audrey, there's something you'd like to tell me. AUDREY (blushing) There is? Beat. All she wants is to be close to him.
    [Show full text]
  • Skyler Osburn
    Skyler Osburn “Lynch and Non-Lynch: A Cinematic Engagement with Process Philosophies East and West” English and Philosophy – Oklahoma State University Honors Thesis 1 Introduction I have envisioned what follows as, primarily, a work of comparative philosophy. My understanding of the sense of ‘philosophy’ extends beyond the accepted foundational works of logic, epistemology, and metaphysics, to include psychoanalytical frameworks, as well as aesthetic theories and their aesthetic objects. Whether thinking it or living it, and regardless of its particular effects, philosophy is a fundamentally creative endeavor, so artistic processes especially have a natural place alongside any mode of analytical reasoning. Given these premises, readers of this essay should not expect to find any thorough arguments as to why a given filmmaker might need to be approached philosophically. This project simply accepts that the filmmaker at hand does philosophy, and it intends to characterize said philosophy by explicating complementary figures and paradigms and then reading particular films accordingly. Furthermore, given the comparative nature of the overall project, it might be best to make an attempt at disposing of our presuppositions regarding the primacy of the argumentative as such. In what follows, there are certainly critical moments and movements; for instance, the essay’s very first section attempts to (briefly and incompletely) deconstruct Sartre’s dualistic ontology. Nevertheless, these negative interventions are incidental to a project which is meant to be primarily positive and serve as a speculatively affirmative account of David Lynch’s film- philosophical explorations. The essay that follows is split unevenly into two chapters or divisions, but the fundamental worldview developed throughout its course necessitates the equally fundamental interdependence of their specific conceptualizations.
    [Show full text]
  • How Twin Peaks Changed the Face of Contemporary Television
    “That Show You Like Might Be Coming Back in Style” 44 DOI: 10.1515/abcsj-2015-0003 “That Show You Like Might Be Coming Back in Style”: How Twin Peaks Changed the Face of Contemporary Television RALUCA MOLDOVAN Babeş-Bolyai University, Cluj-Napoca Abstract The present study revisits one of American television’s most famous and influential shows, Twin Peaks, which ran on ABC between 1990 and 1991. Its unique visual style, its haunting music, the idiosyncratic characters and the mix of mythical and supernatural elements made it the most talked-about TV series of the 1990s and generated numerous parodies and imitations. Twin Peaks was the brainchild of America’s probably least mainstream director, David Lynch, and Mark Frost, who was known to television audiences as one of the scriptwriters of the highly popular detective series Hill Street Blues. When Twin Peaks ended in 1991, the show’s severely diminished audience were left with one of most puzzling cliffhangers ever seen on television, but the announcement made by Lynch and Frost in October 2014, that the show would return with nine fresh episodes premiering on Showtime in 2016, quickly went viral and revived interest in Twin Peaks’ distinctive world. In what follows, I intend to discuss the reasons why Twin Peaks was considered a highly original work, well ahead of its time, and how much the show was indebted to the legacy of classic American film noir; finally, I advance a few speculations about the possible plotlines the series might explore upon its return to the small screen. Keywords: Twin Peaks, television series, film noir, David Lynch Introduction: the Lynchian universe In October 2014, director David Lynch and scriptwriter Mark Frost announced that Twin Peaks, the cult TV series they had created in 1990, would be returning to primetime television for a limited nine episode run 45 “That Show You Like Might Be Coming Back in Style” broadcast by the cable channel Showtime in 2016.
    [Show full text]
  • Twin Peaks at Twenty-Five
    IN FOCUS: Returning to the Red Room—Twin Peaks at Twenty-Five Foreword by DAVID LAVERY or Twin Peaks (ABC, 1990–1991), 2015 was a damn fine year. The last annum has seen the completion of a new collection of critical essays ( Jeffrey Weinstock and Catherine Spooner’s Return to “Twin Peaks”: New Approaches to Theory & Genre in Television), an international conference in the United Kingdom (“ ‛I’ll See You Again Fin 25 Years’: The Return of Twin Peaks and Generations of Cult TV” at the University of Salford), and the current In Focus.1 Not coincidently, this has transpired alongside the commissioning of the return of the series on the American premium cable channel Showtime for a 2017 debut. Long before this Twin Peaks renaissance, the place of David Lynch and Mark Frost’s “quirky quality” series in TV history was, however, already secure.2 As the creator of the iconic series Mad Men, Matthew Weiner, now fifty years old, put it definitively: “I was already out of college when Twin Peaks came on, and that was where I became aware of what was possible on television.”3 Twin Peaks has played a central role as well in our understanding of what is possible in television studies. As I have written and spoken about elsewhere, the collection Full of Secrets: Critical Approaches to “Twin 1 See Jeffrey Weinstock and Catherine Spooner, eds., Return to “Twin Peaks”: New Approaches to Materiality, Theory, and Genre on Television (Basingstoke, UK: Palgrave Macmillan, 2015). For a review of the conference, see Ross Garner, “Conference Review: “‘I’ll See You Again in 25 Years’: The Return of Twin Peaks and Generations of Cult TV”: University of Salford, 21–22 May 2015,” Critical Studies in Television Online, June 5, 2015, http://cstonline.tv/twin-peaks.
    [Show full text]
  • Please Send Your Law Dawg Photo(S) to [email protected]
    Scary DVDs :: Law Dawg of the Month - Petra :: Terrorism Lecture Resources Library Podcast :: Archives Month :: Favorites From Fiction - the Best of the Worst A M I C U S B R I E F S October 10, 2017 Alexander Campbell King Law Library Scary DVDs from the Collection By Nina Guzman Here at the Law Library, we are big fans of Halloween. And what better way to celebrate the best holiday of the year than with a scary movie marathon! We compiled a selection of our spookiest, ookiest movies to get you in the spirit. The UGA Law Library is not responsible for any popcorn that you throw in the air. Cape Fear (1962/1991) PN1997 .C374 2001 / PN1997 .C374 2005 This is a classic horror film that I recommend any movie fan to watch. A psychotic man is set free from jail and decides his mission in life is to torment and torture the lawyer who convicted him. Don’t let the black and white film strip fool you. The scares are just as good (if not better) than any movie in the theater today. The original is my favorite but the remake comes pretty close. A perfect selection for a late night double feature showing. 5 4 2 3 5 4 3 2 The Crucible In Cold Blood 1 The Exorcism of Emily Rose Based on the book PN1997 .C8588 201 Devil’s Advocate Don’t you hate it PN1997.I455 2003 ’s incendiary PN1997.E96 2005 Based on Arthur Miller PN1997.D44 1998 by Truman Capote, the film follows 1953 play, we are taken back to the ou’re a big shot young when one day you’re a normal student Perry Smith and Dick Hicock, who in Picture this: Y walking around campus and you’re events that eventually led to the lawyer, and you get the opportunity 1959 murdered a family of four in infamous witch trials in Salem.
    [Show full text]
  • A Cinema of Confusion
    A CINEMA OF CONFUSION Erik Oliver omething is wrong. Videotapes appear on the doorstep of Fred (Bill Pullman) and Renée Madison (Patricia Arquette). They show, in floating, ominous frames, the exterior and then the interior of the couple’s home. Even ignoring the Stapes, Fred and Renée seem off, somnambulant. They speak in non- sequiturs and long pauses. Their house is always dark. We sense an intrusion taking place, but never that there might be one specific intruder. Something is looming, and it’s impossible to tell what it might be. Things in this successful couple’s upscale home seem like they should be normal, but they feel fundamentally wrong, and by the time Fred receives the final tape—chronicling his murder of Renée— the grainy footage seems itself like the act of violence. The police arrest Fred, but once within his jail cell, he physically transforms into another man, Pete (Balthazar Getty). The police can’t figure out what to do with this man, so they release him. Pete returns home to his own family and work, which soon will lead him to Alice (also played by Patricia Arquette), who looks identical to Renée. So, we have questions, but the answers we receive from David Lynch’s Lost Highway (1997) only confound us more. Fred murdered his wife. But when? Why? And even taking this account for the truth, Fred is no longer Fred, but Pete. Fred’s arrest seems like a climax to Lost Highway ’s odd, oblique psychodrama, but with the transfigura - tion in the jail cell, we’re delivered back into a status quo, albeit one that disrupts our understanding of the plot.
    [Show full text]
  • The Death of the Subject in David Lynch's Lost Highway And
    The Death of the Subject in David Lynch’s Lost Highway and Mulholland Drive David Roche To cite this version: David Roche. The Death of the Subject in David Lynch’s Lost Highway and Mulholland Drive. Poetics of the Subject, 2003, France. http://erea.revues.org/index432.html. hal-00451742 HAL Id: hal-00451742 https://hal.archives-ouvertes.fr/hal-00451742 Submitted on 16 Jun 2011 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. E-rea Numéro 2.2 (2004) Poetics of the Subject ............................................................................................................................................................................................................................................................................................... David ROCHE The Death of the Subject in David Lynch’s Lost Highway and Mulholland Drive ..............................................................................................................................................................................................................................................................................................
    [Show full text]
  • 'Come On, Get Happy!' : Exploring Absurdity and Sites of Alternate
    ‘Come on, get happy!’1: Exploring absurdity and sites of alternate ordering in Twin Peaks Abstract This paper is interested in investigating the complex nexus of sites of organizing and absurdity emerging from the persistent undermining and intermingling of common orders, logics and conventions. In its analysis the paper refers to an example from popular culture – the detective series Twin Peaks – which presents a ‘city of absurdity’. The series is discussed utilising Foucault’s (1970) concept of heterotopia which allows us to convey the ‘other side’ of ‘normal’ order and rational reason, immanent in sites of organizing. Fundamentally, the sites in Twin Peaks evoke an understanding of organization as a dynamic assemblage in which heterogeneous orders, conventions and practices interrelate and collide. Analysed through a ‘heterotopic lens’ the TV series Twin Peaks contributes to the exploration of absurdity as a form of humour, and more generally to a sensitive and vivid knowing and experiencing of organization, organizational ‘otherness’ and absurdity. Key words: absurdity, heterotopia, intermingling orders, other organizing, Twin Peaks 1 In the 2nd season of Twin Peaks, Leland Palmer, the father of murdered Laura, suddenly shows up with his hair all turned white. He starts singing ‘forget your troubles, come on get happy, waiting for the judgment day’, and drops down to the floor with a heart-attack. Introduction I think humor is like electricity. You work with it but you don’t understand how it works. It’s an enigma. (Lynch in Murray, 1992/2009: 144) Humour and comicality are integrative aspects of human behaviour, relations and experience, emerging and manifesting themselves in variegated forms, functions and outcomes (Westwood and Rhodes, 2007: 12).
    [Show full text]
  • Download As A
    TWIN PEAKS Episode 2.004 Scanned by runningdog. Original formatting duplicated as closely as possible. For clarification all duplicate pages removed. Special note: this is a faithful duplication that includes the original spelling, formatting and series related errors. FIRST DRAFT: August 8, 1990 REVISED: August 13, 1990 - BLUE LYNCH/FROST PRODUCTIONS, INC. 770 Balboa Boulevard Van Nuys, CA 91406 Tel: 818-909-7900 Fax: 818-909-0700 Due to the continuing narrative nature of our show, please do not divulge the contents of story lines to anyone. This script is for your eyes only. Thank you for your cooperation. 1. #2.004 ACT ONE FADE IN: 1. INT. SHERIFF'S INTERROGATION ROOM - DAY START CLOSE on LELAND PALMER, his face a dark mask of grief. SHERIFF TRUMAN'S voice is heard: TRUMAN'S VOICE Leland, you have the right to an attorney. (beat) Leland ... ? LELAND (with a wave of the hand) No, no. I waive that right. I'm a lawyer ... VOICE I'm going to ask you some questions. Anything you say may be held against you in a court of law. Do you understand? LELAND Yes. Of course. TRUMAN'S VOICE (after a beat) On Friday morning, March third, did you go to Calhoun Memorial Hospital? Leland answers quietly, intent, as if commenting on the actions of someone else. LELAND Yes TRUMAN'S VOICE Why did you go there? LELAND I was looking for someone. TRUMAN'S VOICE Who were you looking for? LELAND The man who killed my daughter. TRUMAN'S VOICE Did you know his name? (CONTINUED) 2.
    [Show full text]
  • Twin Peaks from the Multichannel Era to the Digital Era
    NARRATIVES / AESTHETICS / CRITICISM “WHEN YOU SEE ME AGAIN, IT WON’T BE ME”. TWIN PEAKS FROM THE MULTICHANNEL ERA TO THE DIGITAL ERA CARLOTTA SUSCA Name Carlotta Susca Palmer’s murderer early in season two, which the two Academic centre Università degli Studi di Bari “Aldo Moro” creators intended to keep the mystery unsolved for a E-mail address [email protected] much longer time. For the revival of Twin Peaks (2017, during the digital era), distributed by Showtime, Lynch and KEYWORDS Frost created a more complex audiovisual product. The Twin Peaks; audiovisuality; storytelling; TV series; David Twin Peaks revival was realized with far more authorial Lynch. liberty, due to the indisputable celebrity of Lynch and the possibility—fostered by the subscription-based premium cable platform Showtime—of aiming at a niche audience, ABSTRACT a possibility that George Gilder foresaw in 1990. As a On its debut in 1990, David Lynch and Mark Frost’s TV result, not only Twin Peaks – The Return’s plot is much more series Twin Peaks aired during the “multichannel era” complex than in the first two seasons, but it also proves on the broadcasting channel ABC, one of the three how television in the digital era can lead to the creation of free-to-air US TV networks at the time. ABC imposed audiovisual narratives that fully exploit every audiovisual major plot developments, e.g. the revelation of Laura semiotic level. 103 SERIES VOLUME IV, Nº 2, WINTER 2018: 103-110 DOI https://doi.org/10.6092/issn.2421-454X/8362 INTERNATIONAL JOURNAL OF TV SERIAL NARRATIVES ISSN 2421-454X NARRATIVES / AESTHETICS / CRITICISM > CARLOTTA SUSCA “WHEN YOU SEE ME AGAIN, IT WON’T BE ME”.
    [Show full text]
  • Reversal of Gender Roles in Twin Peaks and Fire Walk with Me
    Reversal of Gender Roles in Twin Peaks and Fire Walk with Me By Antonio Sanna Spring 2012 Issue of KINEMA LAURA PALMER WAS BOB’S MASCULINE DAUGTER: REVERSAL OF GENDER ROLES IN TWIN PEAKS AND FIRE WALK WITH ME Abstract In my paper I shall analyse the cult TV series Twin Peaks through a gender perspective. I shall argue that Laura Palmer could actually be seen as BOB’s daughter because she impersonates male predatory sexuality and attitudes. I shall also argue that the behaviour of BOB could be seen as very similar to that of all of his victims through the same masculine attitudes they exhibit. In my reading, the series and the film will be considered as an unfolding narrative resulting from the comprehensive work of both its creators David Lynch and Mark Frost and the team of its writers and directors. THE CONTROVERSIAL and much-debated TV series Twin Peaks by David Lynch and Mark Frost was divided in two seasons which were aired between 1990 and 1991; it was the most video-taped program on network television during the time of its airing, with over 830,000 persons recording it each week (Jenkins 67). It received initially an enthusiastic critical reaction and achieved a massive popularity, which still lasts after twenty years of its original airing. Indeed, the DVD collections of its two series as well as its soundtrack have been recently re-issued on the market (the ”Gold Box Edition” was issued in 2007) and critical readings of its narrative are still being published, especially in volumes which analyse David Lynch’s entire oeuvre.
    [Show full text]
  • University of Florida Thesis Or Dissertation Formatting
    “THE EVIL THAT MEN DO:” GENDER-BASED VIOLENCE IN TWIN PEAKS By MATT STERN A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2019 © 2019 Matt Stern To my wonderful parents ACKNOWLEDGMENTS First and foremost, I would like to acknowledge and thank my thesis committee: Dr. Tace Hedrick, Dr. Maddy Coy, and Dr. Jillian Hernandez. This thesis is possible thanks to their advice, encouragement, and support. I would also like to thank our Center chair, Dr. Bonnie Moradi, and our graduate coordinator, Dr. Kendal Broad, for the work they do that makes our work possible. I am so thankful to have been able to work with such brilliant scholars throughout my master’s education here at the University of Florida. I also thank my brother Mike for introducing me to Twin Peaks several years ago. This thesis would never have happened without his encouragement to come to Florida for school in the first place. I would also like to, again, thank my parents; I would not be where I am today if it weren’t for their support, patience, and wisdom. In addition, I want to thank my best friends from back home in New York and all the new friends I made here in Florida for the support they’ve given me throughout this last year and a half. Lastly, I want to thank my partner Nick for being so helpful and supportive throughout the writing process. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .....................................................................................................
    [Show full text]