NARRATION IN MAYA DEREN’S MESHES OF THE AFTERNOON AND DAVID LYNCH’S LOST HIGHWAY
DOI:
https://doi.org/10.5212/uniletras.v23i1.213Abstract
Based on David Bordwell’s theory of narration, which asserts that perception is a learned activity – the viewer constructs schemas to comprehend the development of stories –, this article proposes the hypothesis that it is the experience of watching films that enables viewers to make sense of a commercial but innovative film like Lost Highway, which, if produced in the forties, as Maya Deren’s Meshes in the Afternoon was, would probably be seen as an experimental or avant-gardiste film, as long as commercial production values were not taken into consideration.
Key words: avant-garde, experimental cinema, filmic narration, post-modernism
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