Logical structure, namely triple independent Space; Room; Roomage,
a There is a scene of a girl watching TV at 3:30 in the film. This is an independent one-fold Space; Room; Roomage, simply narrated, called "Audience Space; Room; Roomage". In connection with this, all those who have this girl appear, or the ones on the snowy streets of Poland are the first. In addition, the picture of the big rabbit can also be regarded as this heavy (the paragraph of the rabbit appears after the girl's picture. The image of the big rabbit was originally from the movie "Harvey" ("Blurred World")? It seems that David Lynch likes to use the subconscious mind. Symbol. Of course, the picture of the rabbit actually appeared on the TV for the first time, but considering the intersection of Space; Room; Roomage (more importantly, can such a weird rabbit be on TV? I doubt it), the rabbit is basically the first space ; Room; the subconscious product of the girl of Roomage).
b The luxurious house that appeared at 10:00 in the film, including the later actors, actresses and directors, is the product of the second space; Room; Roomage . Referred to as "Actor Space; Room; Roomage". Pay special attention to the fact that the actor is called Devon and the actress is called Nikko.
c The third layer Space; Room; Roomage is the Space of the play in the play; Room; Roomage, which is the story Space in the script "Blue Melancholy Tomorrow" in the movie; Room; Roomage, referred to as "role Space; Room; Roomage" ". Associated with it is the actress who appeared at 35:00, basically belonging to this heavy Space; Room; Roomage. Pay special attention to this space; Room; Roomage, the same actor and actress in b, the male role is called Billy, and the female role is called Sue.
2 Detailed explanation of subsections:
a At the beginning is the image of a projector and a beacon, illuminating the title of "Inland Empire". Regarding the title, Lynch said that one day he heard "Inland" and "Empire" again, and thought they liked it very much, so they put it together. My opinion is that this matter may be true, but the name of the film is still very appropriate. In short, the conscious and subconscious mind is the mysterious and huge "Inland Empire". David Lynch takes us this time on a mysterious journey about consciousness and subconsciousness.
b The picture of the turntable, unknown (is the inspiration for this film really like the lines, from the radio drama called Axxon? Then this is the meaning of the turntable). The picture of the hotel, the product of "Audience Space; Room; Roomage", that is, a girl watching TV and a bearded man.
c The girl gradually sinks into the subconscious while watching TV, that is, from the audience Space; Room; Roomage into the actor Space; Room; Roomage. The entry here roughly takes three paragraphs: the rabbit (subconscious) opens the door and enters the big house, and the two Poles have a conversation (actually David Lynch is telling the audience that it was all subconscious just now. You want to see how the story begins, right? Okay, I’ll just Let me start with you), the mysterious old lady (Subconscious Space; Room; Roomage is making predictions).
d The following long paragraph is the story of the actors Space; Room; Roomage. The woman who appears at 35:00 is the character Space; Room; Roomage is a sign that the invasion has begun. The subsequent plot became confusing and confusing. Two particularly important scenes are the actors and actresses in bed (57:00). Pay attention to the names they call each other in the dialogue! This is the actor Space; Room; the actress and role of Roomage Space; Room; the male role of Roomage! The director arranges Space; Room; Roomage is twisted and entangled here. And the following story of myself seeing myself (60:00), is actually the female character seeing the actress (note that she is called Billy instead of Devon), another space; Room; Roomage distortion (Space; Room; Roomage distortion) The important props are the clock and watch. The clock is hung on the wall of the cottage).
e The actors disappeared, only the characters are left, and the film is all occupied by the characters Space; Room; Roomage. The red light to blue light that appeared at 1:06:00, from Billy's overprint to all the prostitutes, is basically the role of Space; Room; the role of the script in Roomage. However, the role of the fictional Space; Room; Roomage is only meaningful if it is deconstructed by the audience (in short, the girl looks at the story on TV and starts to associate herself with empathy), so the role Space; Room; Roomage has not been fully laid out yet. Open, and immediately overlap with the audience Space; Room; Roomage.
f The specific overlapping process, one is from the character’s cabin to the real street. The second is that the girl teaches the character how to penetrate the flashy surface (burning silk) and see the truth (actually, it is a process by which the girl enters her own memory from watching the character). This teaching role shot is superimposed on the turntable, because the role of the artwork can only be transmitted to the audience through the medium. The third is the rabbit that represents the subconscious mind, transformed into a fat man in the character (1:17:00), doing self-analysis to the character (also the audience). Therefore, a lot of confessions made by the characters in the future are the product of the mixture of the characters (the stories played on the TV) and the audience (the memories of reality).
h Since the hour from 1:10:00 to 2:10:00, the audience Space; Room; Roomage and the character Space; Room; Roomage are interspersed, it is actually difficult to distinguish which is reality and which is TV. Staged (of course the passage called Billy must have been staged on TV). I tend to think that in reality the girl has killed her husband, and the other Polish-speaking male protagonist may be the girl’s illusion. In the imagination, the husband is resurrected and given the image of a TV role.
i From 2:10:00-2:30:00, these passages are intersected with the audience Space; Room; Roomage, Space; Room; Roomage, and gradually connect with the actor Space; Room; Roomage, and finally return to the actor completely. Space; Room; Roomage. The story of the characters Space; Room; Roomage is basically that the jealous wife killed the husband's lover.
j fell back to the actor and it's not over yet! Then there is the intersection of actor Space; Room; Roomage and audience Space; Room; Roomage. Notice how the actors and the audience seemed to have seen each other at 2:33:30, how surprised each other was! At the end, the actor entered the audience’s subconscious room 47 and was swallowed by the audience; and the audience embraced the TV character, compensating for the psychology of killing the husband (the scene of the last hug is probably fake. Because there is a small next to it) Boys, and the previous videos only mentioned girls, and there is nowhere to explain boys).
k The mystery is not over yet, the final shot fell on the actors and the stage again. Is it that the audience is also fake, is it the actor's fantasy? The last MTV with subtitles includes both "the one-legged sister of the Phantom in North Carolina" described in the script, and "monkey and the prostitute with golden wig". This is "the text of the text", the fictional character Space ; Room; the fourth more fictional Space in Roomage (script); Room; Roomage, Lynch also arranges this pure fictional Space; Room; Roomage is alive. What is fiction, what is real, left a tail at the end, which is basically a joke before the end of the film, so there is no need to go into it.
3 In summary, the film has gone through a process of jumping back and forth from "audience" to "actor", from "actor" to "role", from "role" to "actor", and then from "actor" to "audience" . The particularly complicated design is that all Space; Room; Roomage are not purely enclosed Space; Room; Roomage, but have roads and openings pointing to other Space; Room; Roomage. For example, the actor Space; Room; Roomage can be regarded as independent, but the predecessor of their rehearsal is directed to the subconscious room 47; and the role Space; Room; Roomage rarely exists independently, either mixed with the audience or with the actors mixed together. Each scene has more than two meanings, and some scenes even represent triple Space; Room; Roomage blending, which increases the difficulty of separating Space; Room; Roomage and interpretation.
In this film, David Lynch describes the process of subconscious interaction between the three in the film industry. There are two key points. The first is the subconscious activities of the audience when appreciating the work (how to use Buddhist psychoanalysis through memory and imagination The second is to criticize the Hollywood film industry (the description of the actors in the beginning and the description of the Avenue of Stars in the latter part are full of irony). The theme is basically the same as "Mulholland Road". The difference is that the two layers of "Mulholland Road" are enlarged into three layers, which are more terrifying, darker, and more David Lynch-like.
4 When David Lynch is silent, the above interpretation is purely my family's words. Someone also read the quadruple Space; Room; Roomage, the same makes sense. But I feel that David Lynch used the image to purely mark Space; Room; Roomage conversion is three times (actors become characters, obvious name prompts; characters become audiences, obviously burning silk; finally, the characters change back to actors), too much The free association of ”is a little bit out of the text (of course, the interpretation always depends on the three-fold autonomous combination of text, imagination, and background knowledge. The difference between different interpretations is only the proportion of the three.). The above reading is still difficult to justify, and there are many unresolved details. Fortunately, Lynch is much higher than I don't know. It is not shameful at all if you don't understand his movies, and I just try to do it.
