In the two selected David Lynch movies a shared motif becomes apparent: the question of identity. Therefore I define border crossing as the crossing of a psychological border within a person making possible to live out different (part-) identities. Jeffrey in Blue Velvet as well as Betty/Diane in Mulholland Drive have two different identities, i.e. they are presented to us in two different roles, a psychological border crossing takes place. In either case the concepts of identity and identity construction which were current at the date of the movies’ origin are represented. Framing these concepts in relation to the time they were made it becomes clear that we are dealing with innovative groundbreaking ideas. Thus I compare the films relating to how they express identity construction and the therewith combined border crossing. Hereupon I will relate this analysis to the history of identity to make clear in which sense the dealing with the identity discourse is innovative in both of the films.
Finally I will discuss the question if the presented border crossings are still border crossings today or if they have already become habits. To find an answer I will classify the movies within the film history and explain how the film socialization determines the spectators’ readings. I suggest that both films despite all their differences actually tell the same story, only that there are sixteen years of (film-) history between them causing the different ways of narrating. A second border crossing becomes apparent, a border crossing between the two films.
Inhaltsverzeichnis (Table of Contents)
- Introduction
- Identity and Identity Construction: A Historical Overview
- Blue Velvet: "It's a strange world, isn't it?"
- Jeffrey's Identity
- Dorothy's Identity
- Mulholland Drive: A Tale of Two Identities
- Betty/Diane's Identity
- Rita/Camilla's Identity
- Comparing Identity Construction in Blue Velvet and Mulholland Drive
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This paper analyzes the construction of identity in David Lynch's films *Blue Velvet* and *Mulholland Drive*, exploring how these films represent the crossing of psychological borders that allow for the enactment of multiple identities. The analysis will contextualize these cinematic representations within the broader historical discourse surrounding identity. The paper aims to compare how identity is constructed in both films, relating this analysis to the history of identity concepts. Finally, it will discuss whether the depicted identity shifts remain "border crossings" in contemporary society or have become commonplace. * Identity construction and border crossing in film * The historical evolution of identity concepts * Comparative analysis of *Blue Velvet* and *Mulholland Drive* * The role of film socialization in shaping audience interpretation * The relationship between individual and societal perceptions of identityZusammenfassung der Kapitel (Chapter Summaries)
Introduction: This introductory section lays the groundwork for the paper by establishing the central theme of identity construction and border crossing as explored in David Lynch's *Blue Velvet* and *Mulholland Drive*. It briefly introduces the protagonists and the dual identities they embody, highlighting the films' ambiguous nature and their exploration of dark human abysses and the questioning of traditional worldviews. The introduction sets the stage for a deeper dive into the historical context of identity and its portrayal in the chosen films. Identity and Identity Construction: A Historical Overview: This chapter provides a comprehensive overview of Stuart Hall's research on the concept of identity across different historical periods. It traces the evolution of identity from the Enlightenment's emphasis on a unified, rational self to the modern and postmodern eras characterized by fragmentation, fluidity, and the self-narrative as a key mechanism for identity construction. The chapter carefully distinguishes between identity, identification, and self, clarifying how social and cultural contexts continuously shape and reshape an individual's sense of self. Hall's concept of the decentered subject is particularly emphasized, showing how identity is not a fixed entity but rather a dynamic, ongoing process. Blue Velvet: "It's a strange world, isn't it?": This chapter delves into the complexities of identity in David Lynch's *Blue Velvet*. It analyzes the protagonist, Jeffrey Beaumont, his initial portrayal as a well-adjusted young man, and how his encounter with the darker side of his seemingly idyllic hometown triggers a transformation. The chapter explores Jeffrey's fascination with Dorothy Vallens, the nightclub singer, and the ambiguous, masochistic relationship that develops between them. It also examines the contrast between this dark and intense relationship and Jeffrey's relationship with Sandy, representing two opposing facets of desire and love. The chapter extensively unpacks how Jeffrey's journey exposes the contrasting realities of an apparently perfect town and a hidden world of violence and sexual deviance, thereby illustrating the fluidity and instability of identity. Mulholland Drive: A Tale of Two Identities: This chapter focuses on *Mulholland Drive*, examining the dual identities of Betty/Diane and Rita/Camilla. It dissects the film's complex narrative structure, revealing how the two women's stories intertwine and ultimately merge, showcasing the fractured nature of identity. This chapter thoroughly examines the contrasting aspects of Betty's naiveté and optimism versus Diane's bitterness and desperation, illustrating how the same individual can embody drastically different personalities. The chapter goes into depth on how the film uses dreamlike sequences and shifting realities to explore the fragility of identity and the potential for self-deception and delusion. The role of memory loss and the manipulation of reality are analyzed to understand how identity can be both constructed and destroyed.Schlüsselwörter (Keywords)
Identity, Identity Construction, Border Crossing, David Lynch, Blue Velvet, Mulholland Drive, Film Analysis, Postmodernism, Stuart Hall, Self-Narrative, Fragmented Identity, Dual Identity, Psychological Border, Film Socialization.
Frequently Asked Questions: Analysis of Identity Construction in David Lynch's Films
What is the main topic of this academic paper?
This paper analyzes the construction of identity in David Lynch's films, Blue Velvet and Mulholland Drive. It explores how these films depict the crossing of psychological borders, enabling the enactment of multiple identities, and contextualizes these representations within a broader historical discourse on identity.
What are the key themes explored in the paper?
Key themes include identity construction and border crossing in film; the historical evolution of identity concepts; a comparative analysis of Blue Velvet and Mulholland Drive; the role of film socialization in shaping audience interpretation; and the relationship between individual and societal perceptions of identity.
Which films are analyzed in detail?
The paper focuses on two David Lynch films: Blue Velvet and Mulholland Drive. The analysis examines the main characters and their respective struggles with identity, exploring the dualities and complexities they represent.
How does the paper approach the analysis of identity?
The paper uses a comparative approach, analyzing the construction of identity in both films and relating this analysis to the historical context of identity concepts. It examines how the films portray the fluidity and instability of identity, and explores the implications of these portrayals for contemporary society.
What is the role of Stuart Hall's work in this paper?
The paper incorporates Stuart Hall's research on identity across different historical periods. Hall's concept of the decentered subject, emphasizing the dynamic and ongoing nature of identity construction, is a central element of the analysis.
What are the key aspects of identity construction analyzed in Blue Velvet?
The analysis of Blue Velvet focuses on Jeffrey Beaumont's transformation as he encounters the darker side of his hometown. It explores his relationships with Dorothy Vallens and Sandy, and how these relationships highlight the contrasting realities and fluidity of identity within the film's narrative.
What are the key aspects of identity construction analyzed in Mulholland Drive?
The analysis of Mulholland Drive centers on the dual identities of Betty/Diane and Rita/Camilla. It examines the film's complex narrative structure, revealing how the women's stories intertwine, showcasing the fractured nature of identity and the role of memory loss and self-deception.
What is the significance of "border crossing" in the context of this paper?
"Border crossing" refers to the psychological shifts and transformations in identity depicted in the films. The paper explores how these shifts challenge traditional notions of a unified and stable self, reflecting the complexities of identity in modern and postmodern society.
What is the conclusion of the paper?
The conclusion discusses whether the depicted identity shifts remain "border crossings" in contemporary society or have become commonplace, offering a final reflection on the enduring relevance of the films' exploration of identity.
What are the keywords associated with this paper?
Keywords include: Identity, Identity Construction, Border Crossing, David Lynch, Blue Velvet, Mulholland Drive, Film Analysis, Postmodernism, Stuart Hall, Self-Narrative, Fragmented Identity, Dual Identity, Psychological Border, Film Socialization.
- Quote paper
- Ina Brauckhoff (Author), 2008, Identity construction in David Lynch's Blue Velvet and Mulholland Drive, Munich, GRIN Verlag, https://www.grin.com/document/92183
