The post-perspectival. Screens and Time in David Lynch's Inland Empire

TY - JOUR

T1 - The post-perspectival. Screens and Time in David Lynch's Inland Empire

AU - Jerslev, Anne

PY - 2012

Y1 - 2012

N2 - Taking Anne Friedberg's notion of the post-perspectival as the point of departure for her analysis of David Lynch's digitally shot and edited Inland Empire from 2006, Anne Jerslev argues that the film deconstructs continuous time and coherent space by constructing multiple planes of representation, multiple layerings of screens and, hence, multiple and fractured modes of perception. The article further suggests that the film's enigmatic structure might best be understood with reference to a new media genre like the website with its hyperlink structure. Finally, the article discusses how a sense of ubiquitous surveillance coalesces with the screen logic.

AB - Taking Anne Friedberg's notion of the post-perspectival as the point of departure for her analysis of David Lynch's digitally shot and edited Inland Empire from 2006, Anne Jerslev argues that the film deconstructs continuous time and coherent space by constructing multiple planes of representation, multiple layerings of screens and, hence, multiple and fractured modes of perception. The article further suggests that the film's enigmatic structure might best be understood with reference to a new media genre like the website with its hyperlink structure. Finally, the article discusses how a sense of ubiquitous surveillance coalesces with the screen logic.

KW - Faculty of Humanities

KW - filmanalysis, aesthetics, visual culture, david lynch

U2 - 10.3402/jac.v4i0.17298

DO - 10.3402/jac.v4i0.17298

M3 - Journal article

SN - 2000-4214

VL - 4

SP - 1

EP - 11

JO - Journal of Aesthetics and Culture

JF - Journal of Aesthetics and Culture

ER -