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Toying with Twin Peaks: Fans, Artists and Re-Playing of a Cult-Series
CULTURE / RECEPTION / CONSUMPTION TOYING WITH TWIN PEAKS: FANS, ARTISTS AND RE-PLAYING OF A CULT-SERIES KATRIINA HELJAKKA Name Katriina Heljakka and again through mimetic practices such as re-creation of Academic centre School of History, Culture and Arts Studies characters and through photoplay. Earlier studies indicate (Degree Program of) Cultural Production and Landscape that adults are showing increased interest in character toys Studies, University of Turku such as dolls, soft toys (or plush) and action figures and vari- E-mail address [email protected] ous play patterns around them (Heljakka 2013). In this essay, the focus is, on the one hand on industry-created Twin Peaks KEYWORDS merchandise, and on the other hand, fans’ creative cultivation Adult play; fandom; photoplay; re-playing; toy play; toys. and play with the series scenes and its characters. The aim is to shed light on the object practices of fans and artists and ABSTRACT how their creativity manifests in current Twin Peaks fandom. This article explores the playful dimensions of Twin Peaks The essay shows how fans of Twin Peaks have a desire not only (1990-1991) fandom by analyzing adult created toy tributes to influence how toyified versions of e.g. Dale Cooper and the to the cult series. Through a study of fans and artists “toy- Log Lady come to existence, but further, to re-play the series ing” with the characters and story worlds of Twin Peaks, I will by mimicking its narrative with toys. demonstrate how the re-playing of the series happens again 25 SERIES VOLUME I, Nº 2, WINTER 2016: 25-40 DOI 10.6092/issn.2421-454X/6589 INTERNATIONAL JOURNAL OF TV SERIAL NARRATIVES ISSN 2421-454X PARATEXTS, FANDOMS AND THE PERSISTENCE OF TWIN PEAKS CULTURE / RECEPTION / CONSUMPTION > KATRIINA HELJAKKA TOYING WITH TWIN PEAKS: FANS, ARTISTS AND RE-PLAYING OF A CULT-SERIES FIGURE 1. -
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. -
Laboratorio Dell'immaginario 30 Anni Di Twin Peaks
laboratorio dell’immaginario issn 1826-6118 rivista elettronica http://archiviocav.unibg.it/elephant_castle 30 ANNI DI TWIN PEAKS a cura di Jacopo Bulgarini d’Elci, Jacques Dürrenmatt settembre 2020 CAV - Centro Arti Visive Università degli Studi di Bergamo LUCA MALAVASI “Do you recognize that house?” Twin Peaks: The Return as a process of image identification In the fourth episode of the new season of Twin Peaks (2017), also known as Twin Peaks: The Return, Bobby Briggs – formerly a young loser and wrangler, and now a deputy at the Twin Peaks Sheriff’s Department – meets Laura Palmer, his high school girlfriend. Her photographic portrait, previously displayed among the trophies and other photos in a cabinet at the local high school they attended (we see it at the beginning of the first episode),1 sits on the table of a meeting room. It had been stored in one of the two containers used to hold the official documents in the investigation into Lau- ra’s murder; like two Pandora’s boxes, these containers have been opened following a statement from the Log: “Something is missing”. That ‘something’ – Margaret Lanterman (‘The Log Lady’) clarifies to deputy Hawk – concerns Agent Cooper and, consequently, his investigation into Laura Palmer’s death. The scene is rather moving, not least because, after four episodes, viewers finally hear the famous and touching Laura Palmer’s theme for the first time.2 As the music starts, we see Bobby’s face, having entered the meeting room where Frank Truman, Tommy Hawks, Lucy, and Andy are gathered. He literally freezes in front of Lau- ra’s framed image, and a ‘dialog’ begin between the two ex-lovers; 1 It’s the same portrait showed at the beginning of the first season, actually the portrait of Laura Palmer. -
Printable PDF Version
1 “Call for help”: Analysis of Agent Cooper’s Wounded Masculinity in Twin Peaks 2.6.2021 Dale Cooper Twin Peaks crime fiction detective fiction masculinity trauma Karla Lončar karla.loncar[a]lzmk.hr Ph.D. candidate Miroslav Krleža Institute of Lexicography This essay explores the shifts in representation of the masculinity of FBI Special Agent Dale Cooper, one of the leading characters of the Twin Peaks fictional universe, created by David Lynch and Mark Frost. The research covers three chapters. The first chapter serves as an analysis of Cooper’s character from the original television series (1990–91) and Lynch’s film prequel Twin Peaks: Fire Walk With Me (1992), in which he is interpreted as an intuitive detective (Angela Hague), who departs from the conventional depiction of detective characters. The second one investigates Cooper’s “returns” in the third season/Twin Peaks: The Return (2017) and their significance for his character development through the lens of psychoanalytic interpretations of the detective/crime genre and its connections to past trauma (Sally Rowe Munt). The third chapter further explores the struggles of Cooper’s three major self-images in The Return: the Good Dale/DougieCooper, Mr. C and Richard, all of which suggest certain issues in perception of his masculinity, by referring to several psychoanalytic, feminist and masculinity scholars (Isaac D. Balbus, Jack Halberstam, Lee Stepien), official Twin Peaks novels The Autobiography of F.B.I. Special Agent Dale Cooper: My Life, My Tapes (Scott Frost, 1991) and Twin Peaks: The Final Dossier (Mark Frost, 2017) as well as the Ancient myth of Orpheus and Alfred Hitchcock’s film Vertigo (1958). -
'Getting to Know You': Engagement and Relationship Building
See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/242487315 'Getting to Know You': Engagement and Relationship Building Technical Report · January 2005 CITATION READS 1 56 10 authors, including: Davies Banda Bob Muir The University of Edinburgh Leeds Beckett University 21 PUBLICATIONS 71 CITATIONS 10 PUBLICATIONS 73 CITATIONS SEE PROFILE SEE PROFILE Donna Woodhouse Sheffield Hallam University 30 PUBLICATIONS 14 CITATIONS SEE PROFILE Some of the authors of this publication are also working on these related projects: GIPCAP View project National Evaluation of Positive Futures Programme - UK View project All content following this page was uploaded by Davies Banda on 26 May 2015. The user has requested enhancement of the downloaded file. ‘Getting to Know You’: Engagement and Relationship Building First Interim National Positive Futures Case Study Research Report Tim Crabbe Research Team: Davies Banda, Tony Blackshaw, Adam Brown, Clare Choak, Tim Crabbe, Ben Gidley, Gavin Mellor, Bob Muir, Kath O’Connor, Imogen Slater, Donna Woodhouse June 2005 Contents Page ‘Getting to Know You’: Executive Summary 3 Part One: Introduction and Methodology 12 1.1 Preface 12 1.2 The Projects 15 1.3 Methodology 21 Part Two: Starting Blocks: Baselines and Background 31 2.1 From mills and ginnels to suits and vindaloos: The Yorkshire case studies 31 2.2 From docklands to parklands: The Merseyside case studies 48 2.3 From the Costermongers to So Solid: The South London case studies 57 2.4 Community, belonging -
2002 Annual Report 1 Chairman & Chief Executive Officer’S Report Cont
List of Office Bearers Patron: R.J. (Bob) Ellicott Board of Directors: (January – December 2002) Chairman: Murray Chessell Vice Chairman: Ken Williamson Elected Delegates: George Tatai Graham Carey (Resigned October 2002) Grant Harrison (Appointed October 2002) Peter Ruttledge Special Delegates: Margot Foster Brennon Dowrick National Office Staff Chief Executive Officer: Jane Allen Financial Consultant: Graeme Ainslie Business Manager: Matthew Connell Development Manager: Jenny Collins Membership/Events Manager: Shaun Doyle Membership Officer: Danni Hanna Education/GymSkools Coordinator: Linda Pettit AeroSkools Coordinator: Karon Williams Sport Manager: Karen Myers Program Managers: - Men’s Artistic: John Curtin - Women’s Artistic: Karen Myers - Rhythmic Danni Peers - General Gym Jenny Collins - Sport Aerobics Matthew Connell - Trampoline/ Sports Acrobatics Russell Smart Administrator/Graphics: Danni Peers Finance: Sue James Merchandise: Suimai Hare Club 10 Project Officers: Nerine Cooper (North) Brad Edwards (South) Women’s National Coach: Peggy Liddick Trampoline National Coach: Nikolay Zhuravlev Sport Management Committee Chairpersons: Men’s Artistic Gymnastics: Tim Quinlivan Women’s Artistic Gymnastics: Helen Colagiuri Rhythmic Gymnastics: Robyn Pride General Gymnastics: Jenny Collins Sport Aerobics: Karon Williams Trampoline Sports: Allen Cullen/Chuck Smith Sports Acrobatics: Terry Jamieson Affiliations International Gymnastic Federation (FIG) Australian Olympic Committee (AOC) Australian Commonwealth Games Association (ACGA) Pacific -
Arxiv:2108.09516V1 [Cs.SI] 21 Aug 2021
Networks of Twin Peaks: the Dale Cooper Effect Harun Šiljak, Trinity College Dublin, Ireland 1 The shape of stories When Kurt Vonnegut speaks of the shape of stories [1], he is in the realm of calculus, continuous functions describing dynamics of the plot, the highs and lows of the protagonist’s emotions, the speed at which the story unravels. In a way, it corresponds to the historical development of calculus as a way to interpret motion as a function of time. The abscissa is the time, and the ordinate axis is something important for the hero–emotional state, for example. Figure 1 provides a detailed illustration from contemporary fantasy fiction. There is another shape of a story we are interested in: one of its people, the world it lives in. That shape does not focus on the actions, but on the structures. It describes the contents of the carrier bag, like in Ursula K. Le Guin’s Carrier Bag Theory of Fiction [3], and they are neatly arranged in graphs, maps, and trees (as the eponymous work by Franco Moretti suggests [4]). The tools from it come from graph theory and algebra–and once put in context of arbitrary large networks, the field of research is usually dubbed network theory [5]. Are there only so many community types, networks of interactions in life and in literature? What can mathematics tell us about it? Are networks of characters in fiction anything like our social networks? A growing body of literature has been dealing with this application of network theory; investigating epic stories from the past, superhero universes from the modern era, etc. -
'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). -
The Drink Tank’S 9Th Annual Giant Sized Annual James Bacon - the Drink Tank 365 - Chris Garcia Garcia@Computerhistoryorg January 31St, 2014
The Drink Tank’s 9th Annual Giant Sized Annual James Bacon - The Drink Tank 365 - Chris Garcia Garcia@computerhistoryorg January 31st, 2014 Before I get into Twin Peaks, I’ve got some news. The last Drink Tank will hit the street on January 31st, 2015. That’s right, we’re gonna call it a day in exactly one year. The Tenth Annual Giant Sized Annual will be the last issue of The Drink Tank. Ten years and, what I assume will be more than 400 issues. Neither will be a record, but both feel like enough to me. I never wanted The Drink Tank to be one of those zines that just stopped show- ing up one day. I wanna be the one to close the door on it, and this seems like the time. Ten years, man. My entire 30s. I’ll be 40 (and so will James, since he’s the older brother, it would seem) James signed off on the idea when I pitched it to him. Ten Years is a good round number. It’ll be time to close the door. Back in the 90s, Antonio Inoki announced his retirement and then did a several year long tour, doing show after show, having some of the best matches of his career, including one with Big Van Vader that was just tops! He went on and on, not stopping until he really needed to retire, and certain that New Japan Pro Wrestling, the company he built, would be financially secure without him. Luckily, we don’t have those problems here, but there’s still a few things I wanna try. -
Department of English and American Studies English Language And
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Rudolf Hecl Twin Peaks: Revolution on TV Master ’s Diploma Thesis Supervisor: doc. PhDr. Tomáš Pospíšil, Dr. 2009 1 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. .................................................. Author’s signature 2 Acknowledgements I would like to thank my supervisor, doc. PhDr. Tomáš Pospíšil, Dr., for his kind help, support and valuable advice. Also, I would like to thank Leesa Wheatley for proofreading my thesis. 3 Table of Contents Introduction ................................................................................................................................. 5 01. Lynch ...................................................................................................................................... 7 02. Twin Peaks ........................................................................................................................... 25 General facts about Twin Peaks .............................................................................................. 25 Auteur Theory vs. Collaborators (Why Lynch’s Twin Peaks ?) .............................................. 27 Plot .......................................................................................................................................... 30 Characters ............................................................................................................................... -
Twin Peaks Revisited Pdf, Epub, Ebook
TWIN PEAKS REVISITED PDF, EPUB, EBOOK Mark Altman | none | 31 Dec 1992 | Pioneer Books | 9781556983146 | English | Las Vegas, NV, United States Twin Peaks Revisited PDF Book Diane Evans 9 episodes, Pierce Gagnon We also get odd minutes of outtakes from Fire Walk with Me , some of which suggest that this prequel lost a lot of narrative coherence and fine acting without them. He, however, is the artist, and his intentions and desires will always override our own. Ultimately, it was this stylistic change which led to the demise of all that is Twin Peaks , among other things. I feel as though this series would definitely be something up my alley. In making the show , David Lynch pulled together a set of locations that were primarily centered around the town of Snoqualmie; as is typical, they ended up using locations that were several hours away to establish just the right mood and feeling. Deserve is an interesting idea, but it is a shame that commercial pressure led to its demise. Richard T. David Lynch is at his best here in the new Twin Peaks series. Lynch is a master of imagery, and one should not look for a lot of meaning in his choices. For the last 15 years, I have been visiting Washington State myself, kind of as a surrogate for my native Ohio. Official Sites. I mean you can not create a cop drama without eventually solving it. From very early on, however, it becomes apparent this is whole new material. T he first part of the episode takes viewers down a dark highway in backwoods America. -
For Peer Review
Television and New Media Cult TV Revival: Generational Seriality, Recap Culture, and the “Brand Gap” of Twin Peaks: The Return Journal:For Television Peer and New MediaReview Manuscript ID TVNM-17-0076.R2 Manuscript Type: Special Issue <i>Twin Peaks</i>, David Lynch, cult revival, quality TV, seriality, Keywords: generation http://mc.manuscriptcentral.com/tvnm Page 1 of 34 Television and New Media 1 2 3 Cult TV Revival: Generational Seriality, Recap Culture, and the “Brand 4 5 Gap” of Twin Peaks: The Return 1 6 7 8 9 10 Of late, TV seriality has become not just a matter of textual analysis but also 11 12 intertextual analysis as texts from the cultural past are variously revived and 13 14 reimagined. Critics have sought to name this trend, arguing for the ‘re-quel’ as 15 16 a useful term (Pinkerton 2016, 34). For example, writing in Sight & Sound 17 18 For Peer Review 19 Nick Pinkerton argues that re-quels act simultaneously as sequels and as 20 21 restatements of key elements from their previous textual incarnations. By 22 23 introducing new, younger characters alongside ageing favourites, franchises 24 25 can strategically facilitate a “baton passage of Q [diegetic] worlds from one 26 27 generation to the next” (Pinkerton 2016, 34). In such continuations, then, the 28 29 30 issue of cross-generational transfer necessarily becomes significant (Lizardi 31 32 2017). 33 34 Cult TV has proffered a number of re-quels (e.g. Doctor Who; Star 35 36 Trek: The Next Generation; The Prisoner) given that it tends to have 37 38 39 established fan loyalty and brand recognition.