Freud/Lynch: Behind the Curtain

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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. com, the online English edition of Haaretz Newspaper in Israel, gives you breaking news, analyses and opinions about Israel, the Middle East and the Jewish World. Allister has presented papers on Lynch’s work at conferences nationally and internationally, and was one of the guest speakers at the Conversations symposium held on conjunction with the David Lynch Naming exhibition at MIMA (Middlesbrough Institute of Modern Art) in 2015. In this paper I will suggest that Lynch’s work, in whatever medium, is best understood as that of a visual (and sonic) artist. Only through Freud can we discern in Lynch’s films an authentic effort of thought, not just a postmodern confusion.

Freud/Lynch: Behind the Curtain - ed. by Jamie Ruers and Freud/Lynch: Behind the Curtain - ed. by Jamie Ruers and

He works in private practice in London, is an Honorary Senior Lecturer at University College London (UCL), a Consultant to the IPA in Culture Committee, the Founder Editor of the journal Psychoanalysis and History, the Director of the European Psychoanalytic Film Festival (epff) and a former trustee of the Freud Museum. She has edited and authored a number of publications in the field of Lacanian psychoanalysis, most recently “Lacanian Psychoanalysis with Babies, Children, and Adolescents: Further Notes on the Child” (with Stephanie Farrelly Quinn, Karnac, 2017). Similarly, Sigmund Freud also has red velvet curtains which adorn his famous psychoanalytic study in his home, now the Freud Museum.The collection feels fresh and unquestionably offers more than just a rehashing of the popular psychoanalytic readings of Lynch. 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. 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. Drawn from a major Freud Museum London conference, Freud/Lynch goes against the dubious cliché of finding Freudian solutions to Lynchian mysteries. In the intervening 35 years I have produced and/or directed over 80 arts documentaries for television and contributed to over a dozen documentary series.

Freud/Lynch: Behind the Curtain - Freud Museum London

With contributions from Olga Cox Cameron, Tamara Dellutri, Allister Mactaggart, Stefan Marianski, Richard Martin, Todd McGowan, Carol Owens, Chris Rodley, Jamie Ruers, Andrea Sabbadini, and Mary Wild.His most recent books are Boundaries and Bridges: Perspectives on Time and Space in Psychoanalysis (Karnac 2014) and Moving Images: Psychoanalytic Reflections on Film (Routledge 2014). They confront us with strange dreamscapes populated with bizarre characters, obscure symbols and an infuriating lack of narrative consistency. 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. 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). Held on “Twin Peaks Day”, 24 February, we will transform the Freud Museum into an homage to Lynch’s cult TV series.

Freud/Lynch: Behind the Curtain by Stefan Marianski Freud/Lynch: Behind the Curtain by Stefan Marianski

He is the author of The Film Paintings of David Lynch: Challenging Film Theory (Intellect, 2010), in addition to which he has published on landscapes in Lynch’s work in relation to the legacy of the sublime in North American art, and on pop music and loss in Mulholland Drive. He completed his PhD at the London Consortium, and has also taught at Birkbeck, University of London, and Middlesex University. AUTHORS: Jamie Ruers is an art historian specialising in art and culture from Vienna 1900 and Surrealist art and film. He is the author of the book The Architecture of David Lynch (Bloomsbury, 2014), and he organized the 2009 symposium Mapping the Lost Highway: New Perspectives on David Lynch held at Tate Modern.This conference invites psychoanalysts, scholars and cinephiles to reflect on these Lynchian enigmas. I totally get it,” my then-partner uttered, victoriously, as soon as the lights came back on in Amsterdam’s Kriterion movie theater, where we had just watched David Lynch’s 2001 thriller “Mulholland Drive. As such, the perceived lacunae or unintelligibility in it may be understood or “experienced” in other ways and, further, that psychoanalysis may help to bring to light various aspects of his work which have hitherto been less explored than others.