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Freud/Lynch: Behind the Curtain

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We'd also like to use analytics cookies so we can understand how you use our site and to make improvements. Each paper is so rich in their handling of the Freud/Lynch dichotomy that we’re delighted Phoenix published a legacy of this project. The book was derived from a conference of the same name held in May 2018 for the Freud Museum London.

Lynch, who once told an interviewer, "I love dream logic," would surely agree with Sigmund Freud's famous claim that "before the problem of the creative artist, psychoanalysis must lay down its arms. He is also a member of the Psychosis Therapy Project, which provides low-cost psychoanalytic psychotherapy for people experiencing psychosis. These films by David Lynch have captivated and mystified audiences around the world; Freudian psychoanalysis offers a chance to decipher the American director's luxurious cinematic dreamscapes. David Lynch is primarily known as a filmmaker whose singular cinematic/televisual creations have held audiences both spellbound and perplexed over several decades.The curtains were the perfect motif that connected our two subjects: David Lynch uses red – and blue – velvet curtains that line otherworldly settings in Blue Velvet (1986), Twin Peaks (1990–1991), and Mulholland Drive (2001). Lynch, who once told an interviewer ‘I love dream logic’ would surely agree with Sigmund Freud’s famous claim that ‘before the problem of the creative artist, psychoanalysis must lay down its arms’. Maybe it was for this reason that the event was so well attended: it was a cathartic space for us all to digest what had happened the year before; or maybe it was a space to relive it, and work through the trauma together.

Defining a cultural moment with some notes from Freud and Lacan Carol Owens CHAPTER 3 Dream logic in Mulholland Drive Olga Cox Cameron CHAPTER 4 Lost angels in Los Angeles: Lynchian psychogenic fugues Mary Wild CHAPTER 5 "It's a strange world, isn't it? Freud/Lynch: Behind the Curtain is a collection of essays investigating the commonalities of an unlikely match: a psychoanalyst from Vienna, Austria, and a film director from Missoula, Montana, who would both go on to be great explorers of the human condition in their respective fields. Encompassing themes such as art, identity, architecture, fantasy, dreams, hysteria and the unconscious, ‘Freud/Lynch’ takes as its point of departure the possibility that the enterprise in which these two distinct investigators are engaged might in some sense be a shared one.In this paper I will suggest that Lynch’s work, in whatever medium, is best understood as that of a visual (and sonic) artist.

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