@article{fda77b9ca870434aa4cbca756dfe344b,
title = "Memory, Identity and Desire: A Psychoanalytic Reading of David Lynch{\textquoteright}s {"}Mulholland Drive{"}",
abstract = "This is a reading of David Lynch{\textquoteright}s {"}Mulholland Drive{"} through the psychoanalytic approach of Lacan from the perspective of formation of fantasy and shifting identities. Lynch constructs his films consciously choosing his themes from the sub(versive/conscious) side of human mind. {"}Mulholland Drive{"} has been analyzed several times from different approaches, ranging from gender (Love, 2004) to narratology (Lentzner, 2005; Mc-Gowan, 2004; Cook, 2011). This detailed textual analysis intends to rationalize Lynch{\textquoteright}s narrative structure through Lacanian terms in reference to {\v Z}i{\v z}ekian terminology.",
keywords = "psychoanalysis, David Lynch, Lacan, Zizek, film studies",
author = "Murat Akser",
note = "Reference text: Akser, M. (2011) Reinvigorating film studies: an immodest proposal. Cinej, 1:1, 1-3. doi: 10.5195/cinej.2011.26 Akser, M. (2002). Review: slavoj zizek: the fright of real tears: krzysztof Kieslowski between theory and posttheory. Canadian Journal of Film Studies, 11:1, 108-111. Allen, R. (1999). Psychoanalytic film theory. In R. Stam and T. Miller (Eds) A companion to film theory (pp. 123-145). Oxford: Blackwell. Bergstrom, J. (1999). Endless night: cinema and psychoanalysis, parallel histories. Berkeley: University of California Press. Cook, P. (2008). The cinema book 3rd ed. London: BFI. Cook, R.F. (2011). Hollywood narrative and the play of fantasy: david lynch{\textquoteright}s mulholland drive. Quarterly Review of Film and Video, 28:5, 369-381. doi:10.1080/10509200902820647 Hotz-Davies, I. and Kirchhofer, A. (Eds.) (2000). Psychoanalytic-ism: uses of psychoanalysis in novels, poems, plays and films. Trier: WVT. Kaplan, E. A. (Ed.) (1990). Psychoanalysis & cinema, New York: Routledge. Lacan, J. (1979). Four fundamental principles of psychoanalysis. New York: Norton. Lacan, J. (2007). Ecrits: a selection. tr. Alan Sheridan, New York: W.W.Norton & Company. Lebeau, V. (1995). Lost angels: psychoanalysis and cinema. London: Routledge. Lentzner, J. R. and Ross, D. R. (2005). The dreams that blister sleep: latent content and cinematic form in mulholland drive. American Imago, 62:1, 101-123. doi:10.1353/aim.2005.0016 Love, H. (2004). Spectacular failure: the figure of the lesbian in mulholland drive. New Literary History, 35:1, 117-132. doi: 10.1353/nlh.2004.0021 McGowan, T. (2004). Lost on mulholland drive: Navigating david lynch's panegyric to hollywood. Cinema Journal, 43:2, 67-89. doi: 10.1353/cj.2004.0008 Rivkin, J. & Ryan, M. (Eds.). (1998). Literary theory: An anthology, Oxford: Blackwell. Stam, R. (2000). Film theory: an introduction. Oxford: Blackwell. Stam, R. and Miller, T. (Eds.). (2000). Film and theory: An anthology. Oxford: Blackwell. Stam, R. and Miller, T. (Eds.). (1999). A companion to film theory. Oxford: Blackwell. Stam, R., Burgoyne, R. & Flitterman-Lewis, S. (Eds.). (1992). New vocabularies in film semiotics: structuralism, post-structuralism and beyond. New York: Routledge. Tubrett, D. (2001) {\textquoteright}So where are you?{\textquoteright} On memento, memory, and the sincerity of self-deception. Cineaction, 56, 2-10. T{\"u}z{\"u}n, D. (2012). Abject{\textquoteright}s “ideal” kin: the sublime. In G.B. Pierce (Ed.), The sublime today: contemporary readings in the aesthetic (pp. 119-142). Newcastle upon Tyne: Cambridge Scholars. Zizek, S. (2002). The fright of real tears: krzysztof kieslowski between theory and post-theory, London: BFI. Zizek, S. (2001) Enjoy your symptom!: jacques lacan in hollywood and out 2nd ed. New York: Routledge. Zizek, S. (2000). The art of the ridiculous sublime: on david lynch{\textquoteright}s lost highway. Seattle: University of Washington Press. Zizek, S. (1992). Everything you always wanted to know about lacan...but were afraid to ask hitchcock, London: Verso. Zizek, S. (1991). Looking awry: an introduction to jacques lacan through popular culture. Cambridge, MA: The MIT Press.",
year = "2012",
month = nov,
day = "1",
doi = "10.5195/cinej.2012.58",
language = "English",
volume = "2",
pages = "58--76",
journal = "CINEJ Cinema Journal",
issn = "2159-2411",
publisher = "University of Pittsburgh",
number = "1",
}