Freud/Lynch: Behind the Curtain

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Lynch’s unwillingness – or inability – to openly discuss the meaning of his work has enticed and frustrated audiences and critical establishments alike since the emergence of ‘Eraserhead’ in 1977. Who or what exactly has Laura Palmer now become in ‘Twin Peaks’? Why won’t he tells us what’s really going on in ‘Lost Highway’? Why won’t he confirm or deny our own complex theories on the workings of ‘Mulholland Drive’? Why does he invite us into his own dreamscapes and then leave us to figure our own way out, with just a liberal scattering of clues to help? Does he even have the answers himself, or is he too just enjoying the mysteries contained in the dream? This session is about the gulf that exists between Lynch’s work and Lynch’s mouth – the sinkhole that can open up between intention and effect. This is about the man who brings new power to the phrase ‘tight-lipped’. 11. Stefan Marianski The weekend finished with a panel discussing and finding sense in The Return, which included Richard Martin, Todd McGowan, Allistair McTaggart and Tamara Dellutri who took questions from the audience. A transcript of this gripping panel discussion finishes the book. Here, they discuss the Freud Museum London conference which inspired their debut book, Freud/Lynch: Behind the Curtain , an edited collection which explores potential affinities and disjunctions between Lynch and Freud. Tracing Freud on the Acropolis opens on July 26, 2023, and will bring together archives, images and objects exploring Freud’s journey to Greece, and his encounter with the Acropolis. 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 - .: 9781912691951 - AbeBooks Freud/Lynch: Behind the Curtain - .: 9781912691951 - AbeBooks

Join us at the Freud Museum for an evening of Lynchian quirks in the former home of Sigmund Freud as we mark the launch of the new book: Freud/Lynch: Behind the Curtain (2022). 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.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. Mary Wild is the creator of the PROJECTIONS lecture series (psychoanalysis for film interpretation), which has been running regularly at Freud Museum London since 2012. Her interests include cinematic representations of identity, femininity, the unconscious, love and mental illness. Bursary places The hysterical subject is an essential figure in Lynchian cinema. With an art historical lens, this paper will explore how hysteria has returned time and time again throughout Lynch’s oeuvre by looking at a few important characters, from The Alphabet (1968), to Blue Velvet (1986), to Twin Peaks (1990-2017). 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.” But what else do the two agree on? Andrea Sabbadini is a Fellow of the British Psychoanalytical Society and its former Director of Publications. 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. 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).

Stefan Marianski - Firing The Mind

Dr. Olga Cox Cameron has been a psychoanalyst in private practice and a university lecturer in psychoanalysis and literature in Dublin for the past 30 years. She is the founder of the Psychoanalytic Film Festival now embarked on its 10th year. Jamie Ruers is an Art Historian and a Researcher at the Freud Museum London. She has written and given talks on art history and psychoanalysis on subjects including Viennese Modernism and the French Surrealists. Freud and Lynch are predestined to meet. Only through Freud can we discern in Lynch’s films an authentic effort of thought, not just a postmodern confusion. And only through Lynch’s films can we see how relevant Freud’s theory remains for grasping the crazy predicament we live in. Freud/Lynch is thus a collection of essays which was predestined to be written. We hope you’ll enjoy delving in and getting lost in the Freudian and Lynchian dreamscapes, but do make sure to have a MacGuffin to hand to help you wake up again …

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The hysterical subject is an essential figure in Lynchian cinema. With an art historical lens, this paper will explore how hysteria has returned time and time again throughout Lynch’s oeuvre by looking at a few important characters, from The Alphabet (1968), to Blue Velvet (1986), to Twin Peaks (1990-2017). 5. Catherine Spooner 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.” But what else might the two agree on? Drawn from a major Freud Museum London conference, Freud/Lynch goes against the dubious cliché of finding Freudian solutions to Lynchian mysteries. Rather than presuming to fill in what Lynch leaves open by positing some forbidden psychosexual reality lurking behind his trademark red curtains, this book instead maintains a fidelity to the mysteries of his wonderful and strange filmic worlds, finding in them productive spaces where thought and imagination can be set to work. Allister Mactaggart, PhD, is a Lecturer in Media at Chesterfield College. 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. 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. With contributions from scholars, psychoanalysts, cinephiles and filmmakers, this collection of essays explores potential affinities and disjunctions between Lynch and Freud.