Wednesday, 6 October 2010
Postmodernism in Mulholland Drive...
- In David Lynch's Mulholland Drive, we can find an example of schizoid postmodernism.
- His use of decentred narrative is the most adbundantly postmodern feature of the film. We are led to believe that the film is centred around the bond developing between an aspiring actress new to Hollywood, and the only surving victim of a car crash with memory loss, as the two attempt to solve the mystery of her memory. Parallel to this story is a film director who is being strong armed by those backing his latest film. While the film's fragmented narrative is mostly interspersed scenes of the previously mentioned stories, several scenes which appear to be independent from the rest of the film are included within the narrative frame as well. The lack of narrative line and the fact that most scenes act more as independent vignettes lends to the notion of a decentred narrative.
- The film can also be considered a pastiche of film noir on several levels. Firstly, the film is very nostalgic of the 1950s era, especially with the story taking place in Hollywood. Whilst Mulholland Drive also echoes classic noir in the use of the detective plot during the dream portion of the film.
- Lynch's ability to combine many aspects of postmodern film is the sort of blend that firmly sets his films in the postmodern realm. Primarily though, it is through the use of a decentred narrative and nostalgic feel for film noir that Mulholland Drive is able to be categorised as a postmodern noir film.