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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). -
Alice's Academy
The Looking Glass : New Perspectives on Children's Literature, Vol 11, No 1 (2007) HOME ABOUT LOG IN REGISTER SEARCH CURRENT ARCHIVES ANNOUNCEMENTS Home > Vol 11, No 1 (2007) > Parsons Font Size: Alice's Academy "That's Classified": Class Politics and Adolescence in Twin Peaks Elizabeth Parsons Elizabeth Parsons lectures in Children's Literature and Literary Studies at Deakin University, Melbourne, Australia. Her current research examining class dynamics in texts for children and young adults is part of a collaborative project with Clare Bradford, led by Elizabeth Bullen. Her research focus also includes the politics of risk society in children's texts and childhood resilience. Airing on the ABC television network and running for two series in the early 1990s, Twin Peaks made playful fodder of all manner of American cultural icons and imperatives. The slow camera pan to a mounted deer head with the slogan "the buck stopped here" flags the comic significance of money, and it is bucks of the greenbacked variety that propel my reading of class politics as inflected by adolescent sexuality in the series. However, class, sex and age are tripartite functions of social location and, as Bourdieu says: "sexual properties are as inseparable from class properties as the yellowness of a lemon is from its acidity: a class is defined in an essential respect by the place and value it gives to the two sexes...". He continues, "the true nature of a class or class fraction is expressed in its distribution by sex or age (qtd. in Lovell 20). These sociocultural dynamics motivate my assessment of Twin Peaks and prevent the simpler concept of economic bucks from deflecting attention from the implications of age and gender in social mobility and the accrual of capital. -
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 ............................................................................................................................... -
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. -
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”. -
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. -
Double Time in Twin Peaks: the Return
Research How to Cite: Lash, D. 2020. The Dangers of Getting What You Asked For: Double Time in Twin Peaks: The Return. Open Screens, 3(1): 1, pp. 1–26. DOI: https://doi.org/10.16995/os.21 Published: 09 July 2020 Peer Review: This article has been peer reviewed through the double-blind process of Open Screens, which is a journal published by the Open Library of Humanities. Copyright: © 2020 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/. Open Access: Open Screens is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. Lash, D. 2020. The Dangers of Getting What You Asked For: Double Time in Twin Peaks: The Return. Open Screens, 3(1): 1, pp. 1–26. DOI: https://doi.org/10.16995/os.21 RESEARCH The Dangers of Getting What You Asked For: Double Time in Twin Peaks: The Return Dominic Lash University of Bristol, GB [email protected] The third season of Twin Peaks is chock full of uncanny, disturbing – and disturbingly humorous – doubles, most notably of its central character, played by Kyle McLachlan. This article argues that the series itself is also a kind of double, because it takes advantage of the almost unique situation in which a beloved show is continued after a quarter-century absence to superimpose itself on the new versions of Twin Peaks its fans have fantasized in the interim. -
Textural Poaching Twin Peaks: the Audrey Horne Sweater Girl Gifs
CULTURE / RECEPTION / CONSUMPTION TEXTURAL POACHING TWIN PEAKS: THE AUDREY HORNE SWEATER GIRL GIFS JENNIFER GILLAN Name Jennifer Gillan arresting elements of costuming, set design, and dialogue. Academic centre Department of English & Media Studies This behavior has become more popular as more series – Bentley University rely on textural storytelling and are filled with moments E-mail address [email protected] of excess that feel separate from the story. After an introduction to GIFs and GIF creation, it contrasts KEYWORDS the impression of the character and series conveyed Twin Peaks; GIFs; Costuming; Participatory Culture; Textual by Audrey Horne GIFs and the actual dynamics in the Poaching; Television. “Audrey’s Dance” scene. It establishes that Audrey’s look is most visually aligned with the Sweater Girl type, but ABSTRACT as an allusive characterization it creates excess and calls This article aims to widen the lens of analysis of attention to itself. Part of the “cool pop” reputation of participatory culture inspired by long-arc serials like Twin the series may stem from the wider circulation of iconic Peaks. It considers GIF creation as a form of textural moments of excess especially given that the GIFs detach poaching, a new reception practice involving skimming the images from the series’ uneven storytelling and its off and repurposing top-of-the-mind content: the most challenging surrealist sensibility. 09 SERIES VOLUME II, Nº 2, SPRING 2016: 09-24 DOI 10.6092/issn.2421-454X/6588 INTERNATIONAL JOURNAL OF TV SERIAL NARRATIVES ISSN 2421-454X PARATEXTS, FANDOMS AND THE PERSISTENCE OF TWIN PEAKS CULTURE / RECEPTION / CONSUMPTION > JENNIFER GILLAN TEXTURAL POACHING TWIN PEAKS: THE AUDREY HORNE SWEATER GIRL GIFS FIGURE 1. -
My Journey of Pie, Coffee, and Donuts
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF ENGLISH A GASTRONOMICAL TOUR OF TWIN PEAKS: MY JOURNEY OF PIE, COFFEE, AND DONUTS MEGAN LYSOWSKI SPRING 2018 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in English with honors in English Reviewed and approved* by the following: Richard Doyle Professor of English Thesis Supervisor Xiaoye You Professor of English and Asian Studies Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT This is an exploration of my personal experience with the highly esteemed, highly strange television series Twin Peaks through the cultural spread of food presented in the show. It is a work of creative nonfiction that relies on my subjectivity and material from a world outside the series that has been created in its wake. Sometimes referred to as a “cult phenomenon,” I show what that experience is specifically like through a microcosm of food. The main subjects of focus are coffee, pie, and donuts wherein I craft each section through research, analysis, personal journey, and investigative work to a specific aspect of the food group. This gastronomical tour aims to explore the importance of subjectivity in relation to objectivity in a format where academic analysis often removes the true feeling of its subject. ii TABLE OF CONTENTS LIST OF FIGURES………………………………………………………………………………iii ACKNOWLEDGEMENTS………………………………………………………………………iv Introduction Twin Peaks: How and Infinitely Why ....................................................................... 1 Chapter 1 Prolific Pie: Cherry Pie and Other Miscreants .............................................................. 3 Faceology of Pie: Scene Analysis of Cooper and Huckleberry Pie .......................................... 10 Chapter 2 Coffee: Black as Midnight, Masculinity, and the True Meaning ...............................