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Freud/Lynch: Behind the Curtain

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Does he even have the answers himself, or is he too just enjoying the mysteries contained in the dream? Only through Freud can we discern in Lynch's films an authentic effort of thought, not just a postmodern confusion.

Mulholland Drive proves surprisingly amenable to the dream logic explored by Freud in The Interpretation of Dreams, so let’s see where it takes us. The Bundjalung of Byron Bay Arakwal People have lived in the coastal landscape around Byron Bay for at least 22,000 years.Jamie Ruers is an art historian specialising in art and culture from Vienna 1900 and Surrealist art and film. 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. Additionally make sure your User-Agent is not empty and is something unique and descriptive and try again.

Freud/Lynch: Behind the Curtain takes as its point of departure that Lynch’s work is not so much unintelligible as ‘uncanny,’ revealing what Todd McGowan has termed “the bizarre nature of normality” – and the everydayness of what we take to be strange. This session is about the gulf that exists between Lynch’s work and Lynch’s mouth – the sinkhole that can open up between intention and effect.He is also a member of the Psychosis Therapy Project, which provides low-cost psychoanalytic psychotherapy for people experiencing psychosis. Why does he invite us into his own dreamscapes and then leave us to figure our own way out, with just a liberal scattering of clues to help?

In this paper I will suggest that Lynch’s work, in whatever medium, is best understood as that of a visual (and sonic) artist. You can watch the video straight from our page once you’ve paid or log in to your Vimeo account, where you can find all the videos that you have rented.Lynch’s unwillingness – or inability – to openly discuss the meaning of his work has enticed and frustrated audiences and critical establishments alike since the emergence of ‘Eraserhead’ in 1977. This motif functions as a separation between reality and fantasy spaces, or spaces to explore the unconscious, which begs the question: what lies ‘behind the curtain’? Only through Freud can we discern in Lynch’s films an authentic effort of thought, not just a postmodern confusion. OLGA COX CAMERON’S first career was in literary studies, having written an MA thesis on Proust, worked as a tutor in the Department of French at University College, Dublin, and started—but not completed— a PhD on Beckett at the University of Fribourg in Switzerland.

She received her BA from the University of Plymouth in 2014 and her MA from Birkbeck College, University of London in 2015. Stefan Marianski is Education Manager at the Freud Museum London, where he works with young people to engage them with psychoanalytic thought. In the first of the PROJECTIONS lectures, these titles will be considered as forming a 'trilogy of blurred identity', where the central character in each instalment experiences a psychogenic fugue following the trauma of unrequited love within marriage and/or Hollywood.There was such an appetite for discussion, sharing ideas, and finding reason in David Lynch’s cinematic oeuvre, which are known for their seemingly nonsensical narratives, non-linear storylines, absurd characters, and mystical spaces. 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. Expertise in psychoanalytic theory is not necessary - the only prerequisite is the desire to enter and inhabit the imaginary world of film, which is itself a psychoanalytic act.

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