How to enter the world of Twin Peaks? It is a journey from Twin Peaks to Odessa, Las Vegas, and Buenos Aires, but cooper forgets his homeland during the journey. For him, this Odyssey from the future In other words, returning only means the beginning of the next journey, again and again. Return is exile. cooper, "he will fail".
In Lynch's images, failure means first and foremost a disability in speech and listening (1): Gordan's hearing impairment, his up-and-down volume and his tricks, and his remarks on albert after flirting with a French girl The accusation, "albert, there are thousands of languages in this world"; the unidentified lies of the dwarf in "Walking With Fire": "The chewing gum you like will return to the trend"; it is worth noting that several people who know judy best ( The fireman giant, the cooper in the red room, including the gordan) all speak in a machine-like tone, as if a mechanical repetition of a password, but it is these repetitions that reveal key information. At this level, language is the password, and judy is the realm where all passwords are stored, a silent core. Closest to the core, however, is the song in the bar at the end of each episode, which, like Isa's poem in Woolf's "Interlude," defies the password as a free tonality. Perhaps there is a more ideal language, that is, Laura's "whisper" to Cooper at the end of the E18 episode, which is concise, clear, private, and the absolute anti-password.
The twin peaks are Lynch's limit, where the Lacanian structure of the past is transcended. The intertwined counterpoint and kink relationship in "Mulholland Drive" and "Monster Night" has become a viral split for Cooper. He continues to increase in value, overload, and transform into an intersection with himself; Cooper has no needs, only delirium, Everything is like black coffee. And judy - the materialized frank, someone else's husband, the producer, the mafia, its apocalyptic destruction, nuclear bombed. After "Inland Empire", Lynch claimed that he stopped watching movies and only focused on TV (his favorite "Mad Men" and "Breaking Bad"), maybe two hours could not accommodate his genius, Lynch created The TV movie, the double redemption of the two.
As before, on the one hand, Lynch liberated television from sound and language into the realm of silence and image; on the other hand, he changed the meaning of the episode. Let's guess what "Breaking Bad" inspired Lynch. What makes "Breaking Bad" outstanding is not the construction of a tight-knit plot universe, but the creative fragment at the beginning of each episode. It's not a continuing synopsis, and it's not just a pre-existing account of the episode's outcome so that the audience can focus on the story's development. Fragments are some special moments, some are not in the main play, some are reproduced and emphasized. Most of the clips are family chores, accidents during transactions, appearances of little people, flashing thoughts and decisions. They are all beyond white's plans and are purely accidental. However, compared to the plan itself, it was these coincidences that really determined the direction of the situation. The trainjacking failed because of the death of the spider catching child, and White had to make a new plan.
At the junction of sets, the fragments constitute a dimension of events, which is not subsumable into the linear time of the drama, but belongs to a highly condensed time: first of all an accelerated time, the urgency of cancer progression reinforced by the urgency of the change of events, It is on this level that whites fights death; the second is memory and possibility: before Hank sacrifices, the clip flashes back to the scene where White and Pinkman were making drugs for the first time, White got out of the RV, and made up lies to Sky, Only then did the question really arise: How did this happen? If a decision is changed, or an episode never occurs, is there another outcome possible? The same goes for Sol's run-down years in "The Lawyer"; a clip from season 2 takes a plane crash from the show, which takes place at the end of E13, and retroactively connects all the characters: everyone becomes a plane crash One ring, become the accomplice or victim of White's depravity. If pinkman didn't meet jane, if Lao Bai didn't suddenly have evil thoughts and saved jane... Can the air crash be avoided? On the one hand, the air crash shows the power of chance, and on the other hand, it tells a tragedy of time: too late, too late.
Fragments are "interludes," giving episodes an interlude. The red room at the core of the Twin Peaks world is divided by countless curtains. It is a transit point of various time and space, connecting many uncertain versions: formal-informal, memory-future, dream-reality. The red room is similar to Kafka's castle, the corridors of the bureaucracy, "in the face of its all kinds of absurd temptations, there is no choice but to keep walking and wandering"; the red room is a brain, all over infinity Extended nerves (but Lynch did not differentiate between the cerebrum and cerebellum like Kubrick's capsule, and judy is also different from the central HAL that issues passwords, judy is more primitive, dating back to the agricultural era), nerves send stimulation to movement Release; the room is a blurred area, but the blur is released to the entire operation of the Twin Peaks world, making it indistinguishable between inside and outside, just like the relationship between the castle and the countryside, the relationship between dream and waking. Is this the source of Kafka's absurdity? "Gregory woke up and found himself a big beetle", he was at the junction of dream and waking, in the gap where reality passed through them.
Songs linger around the silent core, and the red room expands into the world. Shuangfeng narrative is like a compass, flipping the page, only draws an arc, the closed loop does not exist, the ♾ given by jeffery has a gap; the straight line before and after the set is bent, and the set becomes an arc The tangent point of , marking a curved space-time. We've seen this change in episodes developed in Nicholas Winding Refn's Fearless. Episodes can end at any moment, and are not subject to causal closed loops, or as rhythms of story development, television acquires the meaning of time-image, the narrative of the episode.
Between dream and waking, reality always appears as the dream of the other. "…but, who is the dreamer." Gordan's question is destined to have no answer, but only another question, as the bad cooper asks jefferys, "who is judy?", but he doesn't know that jefferys doesn't want to talk about judy people. "Return" goes further than "Eight and a Half" at this point, and we no longer follow Quito, his unfinished film, wanting desire, and having to get lost among different dreamers. We can't find the other half, the dream is indistinguishable from reality, but it always releases a wake-up signal.
A symbol is a signal. If Lynch is a fan of numbers, perhaps because numbers themselves lie in the mystical zone between thought and feeling, rather than just having a symbolic aspect, numbers take one world to another (430 is the number of miles spanned). (2) Malfati proposes a mystical "method of numbers" that advocates the eradication of symbols from number (in its full sense), "Ten begins with zero, the pictogram of man and the world, and ends with Ten, ten is tired of both the act of entering and the act of leaving. It is the king of that little world in man.” Ten represents the completion of the (2+5+3) circle, the moment when the "informal version" ends, that is, the circle is not complete, it is just an ellipse that is not formed. "Before I was circular, now I expand into the shape of an egg"; the ellipse is the official version, the two focal points of the ellipse, the binary opposition of "black domain-white domain", "good cooper-bad cooper" is only As an illusion, shattered in the destruction of bob in E17, the "dream-wake", "memory-future" eroticism ensues, all condensed into a moment, the point of contraction of time. 2:53 (2+5+3), the event happened, the event cannot go back to the past, the event reconstructs the past. Therefore, Laura cannot be rescued in the past, she has to be awakened in another dimension, in a cage. And owls, broken ♾, all signals - I'm leaving. The dream in "Eight and a Half" keeps appearing, but here it is a long farewell and sacrifice.
When cooper decides to use laura as bait, sacrificing himself and diane to destroy judy, he also becomes another person, the other, more terrible than the bad cooper possessed by bob. Cooper becomes judy and can control the pain of others, whether as food or as a tool. In episode 18, when diane says, "Think about it," Cooper gets out of the car to verify the time and place, acting grim and decisive, "If we crossed, everything might be different", and he will devote himself to a possibility, not in inevitability. But he still believed in his plan, as if he had to. In fact, cooper mistook the cage for a reality as a possibility, he was still in the past dimension and thought he was going back in time, so things in the cage initially confused him - the cage is the future reality created by luara's diary, It is the expansion of the diary. So, laura cannot be rescued in the past, as cooper encountered in the unofficial version in E17; corresponding to the exposure time cooper experienced in E02 when he fell from the red room to the wooden box camera-like device, which is terminating at Before sam and tracy were brutally executed. The movement of the entire Twin Peaks is like a diary that was originally turned, and the red room is the axis, not only connected to the past that has been chosen to record, but also to a certain future that has not been recorded but will be chosen. Mike's question shows that the red room neither belongs to the past nor the future. "Is this the past or the future?"
Infinite is a question that persists in finite solutions. The red room produced a question about judy, and Cooper gave the answer: Disillusionment is not a sudden explosion like Pierrot, but a black screen that can only be achieved through planning. "one stone two bird". But in fact only one bird, judy, the pain-fueled horror device, daine, laura, and hawk's national trauma history was all reaped as black corn; Deeper pain in the dream", Carrie Page is indifferent to the dead person in the room, suffering unconscious pain and not wanting to know who she is. But judy needs a second bird, an object, a meaningless garmonbozia, otherwise it cannot exist.
Reference content:
(1). For Lynch's attitude towards language, see the video essay "David Lynch: The Nature of Language, Dangerous Theater"
(2). Regarding Marfati's "Number Method", see Deleuze's "Number Method, Science and Philosophy", translated by Jiang Yuhui, in "Production Deleuze and Emotion" (Volume 11), Jiangsu People's Publishing House , 2016
(3). "Laura's Decoy Theory" in DAVID AUERBACH: "Twin Peaks Finale: A Theory of Cooper, Laura, Diane, and Judy"
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