For a Baroque Aesthetic, A study of the Films of David Lynch

• FOR A BAROQUE AESTHETIC
  
• A Study of the Films of David Lynch
  

• Michaële CUTAYA
  
• Master of Arts in the History of Art and Design
  
• The National College of Art and Design
  
• September 2004
  
• INTRODUCTION
  
• History of the Baroque
  
• Wölfflin and the Baroque
  
• Leibniz and Deleuze
  
• Baroque and Realism
  
• Realism and Cinema
  
• Baroque and Cinema
  
• David Lynch
  
• Principles of Analysis
  
• On the Use of Quotes
  
• CHAPTER I:
  
• NARRATIVE CONTINUITIES
  
• CHAPTER II:
  
• THE SHOT OF AMBIGUITY
  
• CHAPTER III:
  
• THE MONTAGE OF CONFUSION
  
• CHAPTER IV:
  
• THE TEXTURE OF FILM
  
  • A Baroque conception of matter, in philosophy as in science or in art, has to go up to this point, to a texturology that attests to a generalized organicism, or to a ubiquitous presence of organisms.
    
  • Gilles Deleuze, The Fold, Leibniz and the Baroque.
    
• CHAPTER V:
  
• THE DARK DEPTHS
  
• CONCLUSION
  
• APPENDIX
  
  • THE EYE-OF-THE-DUCK
    
• SELECTED FILMOGRAPHY OF DAVID LYNCH
  

• Six Men Getting Sick
  
• The Alphabet
  
• The Grandmother
  
• Eraserhead
  
• The Elephant Man
  
• Dune
  
• Blue Velvet
  
• Twin Peaks
  
• Wild at Heart
  
• On The Air
  
• Hotel Room
  
• Twin Peaks: Fire Walk with Me
  
• Lost Highway
  
• The Straight Story
  
• Mulholland Drive
  
  • FILMOGRAPHY
    
    • Un Chien Andalou (Luis Buñuel, 1928)
      
  • BIBLIOGRAPHY
    
    • BOOKS
      
• ARTICLES