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Film Noir As the Language of Trauma

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Film Noir As the Language of Trauma LYNCHIANNOIR: FILM NOIR AS THE LANGUAGE OF TRAUMA A Thesis submitted to the faculty of San Francisco State University Z£11 In partial fulfillment of e m u the requirements for the Degree Master of Arts In English: Literature by Nikolas Paul Bunton San Francisco, California August 2019 Copyright by Nikolas Paul Bunton 2019 CERTIFICATION OF APPROVAL f I certify that I have read Lynchian Noir: Film Noir as the Language of Trauma by Nikolas Paul Bunton, and that in my opinion this work meet§ tfie criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in English: Literature at San Francisco State University. ■fox Geoffrey Green, Ph.D. Professor ; Hr- lOa'i-Leu/T* — V lO o I- Wai-Leung Kwok, Ph.D. Associate Professor LYNCHIAN NOIR: FILM NOIR AS THE LANGUAGE OF TRAUMA Nikolas Paul Bunton San Francisco, California 2019 The aim of this thesis is to explore and analyze David Lynch’s films noir through a psychoanalytic lens, predominantly employing Freudian and Lacanian psychoanalytic theories to dissect and explicate these films. This thesis defines and explores what I call “Lynchian noir”; that is, I make the case that Lynch’s films noir carve out a distinct and idiosyncratic niche in the film noir canon and aesthetic. I make the claim that Lynch’s films noir are a particular offshoot of what some scholars have termed postmodern neo- noir and meta-noir, and that the Lynchian manifestations of postmodern neo- and meta- noir deftly translate the psychological processes of the unconscious mind into powerfully unsettling cinematic experiences. In particular, Lynch’s films noir are cinematic reflections of the unconscious as it attempts to fantasmatically cope with psychic trauma, the distressing enigma of human desire, and the alienating illusion of identity. I certify that the Abstract is a correct representation of the content of this thesis. Chair, Thesis Committee Date PREFACE AND/OR ACKNOWLEDGEMENTS I am grateful to all of those with whom I have had the pleasure to work during this project and throughout my graduate school experience. Each of the graduate professors I studied under has provided me extensive personal and professional guidance and taught me a great deal about both literature and life in general. I would especially like to express the deepest appreciation to the chair of my committee, Professor Geoffrey Green, who actively encouraged me to pursue my academic goals and served as a steady and spirited source of insight. Without his guidance and persistent help, this thesis would not have been possible. Nobody has been more important to me in the pursuit of this project than the members of my family. I would like to thank my parents, Paul and Robin Bunton, whose love and guidance are with me in whatever I pursue. They are the ultimate role models. Most importantly, I wish to thank my loving and supportive wife, Danella Bunton, who provides unending inspiration, fortitude, and passion. v TABLE OF CONTENTS Introduction..................................... 1 The Foundations of Film Noir.......................................................................................3 Lynch’s Cinematic Method......................................................................................... 10 The Psychoanalytic Bedrock of Lynchian Noir .......................................................18 Chapter 1......................................................................................................................................24 Fantasizing Oedipal Trauma in Blue Velvet ................................................................. Chapter I I ....................................................................................................................................55 Navigating Psychic Trauma in Lost Highway: Repressing Neuroses of Identity and Desire in Noir Fantasy .......................................................................................................... Chapter III...................................................................................................................................72 Circumventing Existential and Psychic Trauma Through a Hollywood Noir Fantasy in Mulholland Drive ..................................................................................................... Conclusion................................................................................................................................117 Bibliography.............................................................................................................................122 1 Introduction Perhaps the most radically innovative yet polarizing American auteur since Orson Welles, David Lynch’s singularly original and boldly experimental films breathe life into a tonally consistent cinematic vision that constitutes a universe of its own: the Lynchian universe. His films throw traditional narrative logic to the wind in lieu of emotionally and psychologically evocative spectacles, labyrinthine plots, convoluted structures, outlandish characters, sensual, often disturbing eroticism, and absurd, fantasmatic, and nightmarish visions of contemporary America. Blending the numbingly banal with the excessively grotesque, the hypemormal with the perturbingly bizarre, his vision is nothing less than surreal, tapping into the deepest recesses of human consciousness to express the uncanny and the ineffable—the Lacanian “Real.” Above all, most of Lynch’s films are peculiarly redolent with film noir aesthetics and themes that, once wrung through his idiosyncratic cinematic method, become hyperbolized and heightened to vertiginous degrees. Further, if the essence of film noir lies more in the disorienting mood it creates than the form and content which houses that emotional valence, the majority of Lynch’s films are fundamentally noir. Expressionistic in style, the Lynchian universe is replete with sadism, perverse violence and sex, the dark recesses of American locales, auras of sinister mystery, and cold, polarized worlds where the mundane and the bizarre coexist; its bevy of characters are often alienated, ensnared 2 in delusion and paranoia, hopelessly grasping for a stable identity yet inescapably fractured and haunted by existential dread. In typical neo-noir fashion, Lynch’s three most explicitly noir films— Blue Velvet (1986), Lost Highway (1997), and Mulholland Drive (2001)—plumb the depths of the human psyche to expose the primal anxiety, ontological confusion, and epistemic obscurity of desire and identity which beset modem man. Not only does Lynchian noir explore such themes, it also likens the mechanisms of the unconscious mind—both deep-seated desires and encroaching fears—to that of film noir itself. As such, one central component of Lynchian noir is a neo-noir narrative technique that expressionistically depicts the protagonists’ attempts to repress their traumatic desire and neuroses by unconsciously compartmentalizing the burden of their psychopathy into the coded, semiotic language of classic film noir tropes. Added to this, Lynchian noir is demarcated from other contemporary postmodern films noir by its complete immersion in the surrealist dream-logic that has come to define Lynch’s cinematic method as a whole. Given this, in order to fully appreciate Lynchian noir as a distinct offshoot of postmodern noir, an understanding of both the evolution of film noir and Lynch’s specific cinematic approach to film in general must be accounted for. With regard to the former, without the context of film noir discourse, from its inception on through its neo-noir progressions, the metatextual facets of Lynchian noir would be lost, relegated to empty, floating signifiers. That is, in the absence of the preconceived, culturally entrenched notions that have come to define the noir aesthetic and its essential tropes—i.e., the 3 language of noir—Lynchian noir loses its potency and dips into the dreaded void of “weird for weird’s sake.” Moreover, although Lynchian noir magnifies, distorts, and subverts traditional film noir in order to manipulate and perturb viewer expectations, it nonetheless fundamentally inhabits the core aesthetic tone of classic noir. The Foundations o f Film Noir Much like Lynch’s films, the advent of the first great films noir in the early 1940s marked a radical break from the standard approach to popular filmmaking, a watershed moment in mainstream Hollywood cinema that garnered surprising commercial success given the films’ pessimistic, despairing tones, bleak plots, and unorthodox narrative structures. As film critic Paul Schrader observes, “Never before had films dared to take such a harsh and uncomplimentaiy look at American life” (53). Ever since French film critics and cineastes in the late ‘40s and early ‘50s retroactively described film noir as a distinct classification of American cinema, a clear-cut definition of film noir has been the topic of an ongoing debate amongst academic circles, one that has never fully reached a precise consensus; no two noir scholars will give exactly the same definition. The nebulous nature of noir is largely due to the breadth of its subject matter: a hardboiled detective film (The Maltese Falcon [1941], Kiss Me Deadly [1955], The Big Sleep [1946], etc.) can inhabit the noir aesthetic just as much as a gritty boxer film (The Set-Up 4 [1949]), a grim melodrama depicting the catastrophic downfall of a hapless Everyman (Scarlet Street [1945], Double Indemnity [1944], D.O.A. [1949], etc.), or
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