This term paper compares two texts — the television series “Twin Peaks” by Mark Frost and David Lynch (released in 1990–1991) taken together as a whole with Lynch’s following prequel “Twin Peaks: Fire Walk with Me” (1992) and the novel Jazz (1992) by Toni Morrison — through the prism of two theoretical findings of German cultural critic Elisabeth Bronfen.
First, this is her concept of ‘crossmappings’, formulated and applied as a method of analysis in the book Crossmapping. Essays zur visuellen Kultur (2011). Second, this is her theory regarding the depiction of a dead female body in arts that, seemingly counter-intuitively, is a highly widespread artistic image to which the perceiver responds rather with fascination than with terror. This idea was represented and comprehensively described in the earlier book Over her Dead Body (Bronfen 1992), whose central subject is the connection between death, femininity, and artistic representation.
Table of Contents
1 Introduction
2 Crossmapping: Unexpected Juxtaposition
3 Her Last Dance
3.1 “Tonight is the night that I die. <...>. But if I die he can’t hurt me anymore.”
3.2 “He’s coming for me. Maybe tonight. Maybe here.”
4 Conclusion
Objectives and Themes
This term paper examines the comparative representation of the tragic demise of central female characters in David Lynch's "Twin Peaks" and Toni Morrison's "Jazz," utilizing Elisabeth Bronfen's theories of "crossmappings" and the aestheticization of the dead female body to explore cultural tendencies toward gender objectification.
- Comparative analysis of narrative structures in film and literature.
- Application of Elisabeth Bronfen’s cultural theory to modern artistic media.
- Exploration of female empowerment, resistance, and the "dark self."
- Impact of racial identity and historical trauma on female self-worth.
- Analysis of the "aesthetic of the dead girl" as a cultural construct.
Excerpt from the Book
3.1 “Tonight is the night that I die. <...>. But if I die he can’t hurt me anymore.”
Analysing the legendary opening scene of “Twin Peaks”, Anne Bettina Pedersen writes, “Cocooned in plastic and bejewelled with tiny pebbles, the corpse of Laura Palmer of David Lynch and Mark Frost’s Twin Peaks <...> counters Julia Kristeva’s definition of the abject cadaver. Instead of displaying signs of decay, Laura’s corpse mirrors the iconic photograph of her in full Homecoming Queen regalia.” (Pedersen).
Peterson here refers to Kristeva’s essay “Powers of Horror”, in which the latter describes abjection as an extreme negative feeling (terror, panic, disgust) motivated by the loss of the boundary between self and the dead other. The experiencer goes through a certain breakdown as the thin conditional protection from the world of the dead is disrupted, “The corpse, seen without God and outside of science, is the utmost of abjection. It is death infecting life. Abject.” (Kristeva 1982).
As rightly stated, the image of Laura’s dead body triggers rather aspiration and fascination than abjection. The purifying sensation is amplified by “Laura Palmer’s Theme”, composed by Angelo Badalamenti. The story behind the composition is very indicative and gives some clue on why the scene was not designed to create any fright or disgust. Badalamenti recalls Lynch sitting next to him and saying, “Okay, Angelo, we’re in the dark woods now. And there’s a soft wind blowing through some sycamore trees. And there’s a moon out and there’s some animal sounds in the background, and you can hear the hoot of an owl.” The background melody thus was born at the moment of comforting unity with nature (Mejia).
Summary of Chapters
1 Introduction: This chapter introduces the theoretical framework of Elisabeth Bronfen’s "crossmappings" and outlines the comparative focus on female heroines in David Lynch’s "Twin Peaks" and Toni Morrison’s "Jazz."
2 Crossmapping: Unexpected Juxtaposition: This chapter provides a deeper theoretical engagement with Bronfen’s concepts, establishing how different artistic media utilize specific images to convey cultural concerns regarding femininity and death.
3 Her Last Dance: This chapter provides a detailed analysis of the characters Laura Palmer and Dorcas, comparing their defiance and eventual deaths within the contexts of their respective cultural and social environments.
3.1 “Tonight is the night that I die. <...>. But if I die he can’t hurt me anymore.”: This subchapter analyzes the iconic, aestheticized opening of "Twin Peaks" and how Laura Palmer’s death serves as a focal point for the community while countering the concept of abjection.
3.2 “He’s coming for me. Maybe tonight. Maybe here.”: This subchapter performs a close reading of the death of Dorcas in "Jazz," comparing her narrative voice and self-liberation attempts to those seen in the "Twin Peaks" universe.
4 Conclusion: The conclusion synthesizes the findings, confirming that both works use the aestheticization of female death to reveal a cultural tendency to objectify women and dismiss their internal complexity.
Keywords
Crossmappings, Elisabeth Bronfen, Twin Peaks, Jazz, Toni Morrison, David Lynch, Laura Palmer, Dorcas, Aestheticization, Female Objectification, Gender Empowerment, Racial Identity, Intertextuality, Abjection, Narrative Montage.
Frequently Asked Questions
What is this research paper primarily about?
The paper is a comparative study of the central female heroines in David Lynch’s "Twin Peaks" and Toni Morrison’s novel "Jazz," specifically focusing on how their dramatic deaths are portrayed.
What are the central themes discussed in the work?
The core themes include female empowerment versus objectification, the cultural "aestheticization" of death, the role of race and history, and the use of "crossmappings" to link seemingly disparate texts.
What is the primary goal of the research?
The author intends to demonstrate how both Lynch and Morrison use the imagery of dying young women to critique societal tendencies that objectify women and ignore their complex internal worlds.
Which scientific method is employed in this study?
The paper uses the method of "crossmapping," as defined by Elisabeth Bronfen, to perform comparative readings across film and literature, alongside "close reading" for analyzing specific textual and cinematic moments.
What topics are covered in the main body?
The main body investigates the atmosphere of nightclubs in both texts, the symbolic meaning of water and death, the narrative voices, and the motivations behind the heroines' defiant behavior.
Which keywords best characterize this research?
Key concepts include Crossmappings, Aestheticization, Female Objectification, Intertextuality, Racial Identity, and Narrative Montage.
How does the author relate the death of Laura Palmer to the concept of abjection?
The author argues that while Julia Kristeva defines the corpse as "abject," the specific aesthetic framing of Laura Palmer’s body in "Twin Peaks" triggers fascination and aspiration rather than disgust.
What significance does the "East St. Louis" massacre have in the analysis of "Jazz"?
The author uses this historical trauma to frame the generational context of Dorcas, suggesting that her defiance and search for identity are rooted in a history of racial repression.
Why are synchronic "flashing" effects discussed in the context of both "Twin Peaks" and "Jazz"?
The author highlights how both works use cinematic techniques—specifically, alternating light and dark—to perform the death of their heroines, turning the moment into a visually poetic performance.
- Citation du texte
- Aleksandra Dediukina (Auteur), 2024, Stunningly Dead. Comparative Analysis of the Central Female Heroines in David Lynch’s "Twin Peaks" and "Twin Peaks: Fire Walk with Me" and Toni Morrison’s "Jazz", Munich, GRIN Verlag, https://www.grin.com/document/1502955
