Sentiment, Mood, and Performing the Past: James Hurley's Re-enactment of “Just You” in Twin Peaks: The Return

This essay challenges the critical notion of David Lynch as a “trickster figure” in his approach to Twin Peaks. David McAvoy points to Lynch’s employment of “boring” sequences in The Return as evidence of him “trolling” his fanbase, invoking Sianne Ngai’s theory of the “stuplime”—the clash of the st...

Descripción completa

Guardado en:

Detalles Bibliográficos
Autor principal:	Simon Hall
Formato:	article
Lenguaje:	EN
Publicado:	New York City College of Technology 2020
Materias:	twin peaks re-enactment performance mood music internet trolling History of scholarship and learning. The humanities AZ20-999 Language and Literature P Literature (General) PN1-6790
Acceso en línea:	https://doaj.org/article/25e409335a4444d382bb5a271f0c693e
Etiquetas:	Agregar Etiqueta Sin Etiquetas, Sea el primero en etiquetar este registro!

id	oai:doaj.org-article:25e409335a4444d382bb5a271f0c693e
record_format	dspace
spelling	oai:doaj.org-article:25e409335a4444d382bb5a271f0c693e2021-11-08T21:40:05ZSentiment, Mood, and Performing the Past: James Hurley's Re-enactment of “Just You” in Twin Peaks: The Return2160-0104https://doaj.org/article/25e409335a4444d382bb5a271f0c693e2020-02-01T00:00:00Zhttps://nanocrit.com/issues/issue15/Sentiment-Mood-and-Performing-the-Past-James-Hurley-s-Re-enactment-of-Just-You-in-Twin-Peaks-The-Returnhttps://doaj.org/toc/2160-0104This essay challenges the critical notion of David Lynch as a “trickster figure” in his approach to Twin Peaks. David McAvoy points to Lynch’s employment of “boring” sequences in The Return as evidence of him “trolling” his fanbase, invoking Sianne Ngai’s theory of the “stuplime”—the clash of the stupefying with the Kantian sublime—to argue that The Return’s aesthetic approach is one of self-reflexiveness through boredom and mock sentimentality. However, while Ngai’s theory of the stuplime is applicable to The Return and has parallels with cultural theory surrounding internet trolling, it does not follow that The Return is applicable to the latter theory. This essay evaluates a sequence cited in McAvoy’s chapter—the re-enactment of James Hurley’s song “Just You”—to argue that Lynch’s sentimentality is anything but a façade to elicit reactions from the audience and that The Return’s aesthetic strategy is not limited to concerns of self-reflexiveness. Simon HallNew York City College of Technologyarticletwin peaksre-enactmentperformancemoodmusicinternet trollingHistory of scholarship and learning. The humanitiesAZ20-999Language and LiteraturePLiterature (General)PN1-6790ENNANO, Iss 15 (2020)
institution	DOAJ
collection	DOAJ
language	EN
topic	twin peaks re-enactment performance mood music internet trolling History of scholarship and learning. The humanities AZ20-999 Language and Literature P Literature (General) PN1-6790
spellingShingle	twin peaks re-enactment performance mood music internet trolling History of scholarship and learning. The humanities AZ20-999 Language and Literature P Literature (General) PN1-6790 Simon Hall Sentiment, Mood, and Performing the Past: James Hurley's Re-enactment of “Just You” in Twin Peaks: The Return
description	This essay challenges the critical notion of David Lynch as a “trickster figure” in his approach to Twin Peaks. David McAvoy points to Lynch’s employment of “boring” sequences in The Return as evidence of him “trolling” his fanbase, invoking Sianne Ngai’s theory of the “stuplime”—the clash of the stupefying with the Kantian sublime—to argue that The Return’s aesthetic approach is one of self-reflexiveness through boredom and mock sentimentality. However, while Ngai’s theory of the stuplime is applicable to The Return and has parallels with cultural theory surrounding internet trolling, it does not follow that The Return is applicable to the latter theory. This essay evaluates a sequence cited in McAvoy’s chapter—the re-enactment of James Hurley’s song “Just You”—to argue that Lynch’s sentimentality is anything but a façade to elicit reactions from the audience and that The Return’s aesthetic strategy is not limited to concerns of self-reflexiveness.
format	article
author	Simon Hall
author_facet	Simon Hall
author_sort	Simon Hall
title	Sentiment, Mood, and Performing the Past: James Hurley's Re-enactment of “Just You” in Twin Peaks: The Return
title_short	Sentiment, Mood, and Performing the Past: James Hurley's Re-enactment of “Just You” in Twin Peaks: The Return
title_full	Sentiment, Mood, and Performing the Past: James Hurley's Re-enactment of “Just You” in Twin Peaks: The Return
title_fullStr	Sentiment, Mood, and Performing the Past: James Hurley's Re-enactment of “Just You” in Twin Peaks: The Return
title_full_unstemmed	Sentiment, Mood, and Performing the Past: James Hurley's Re-enactment of “Just You” in Twin Peaks: The Return
title_sort	sentiment, mood, and performing the past: james hurley's re-enactment of “just you” in twin peaks: the return
publisher	New York City College of Technology
publishDate	2020
url	https://doaj.org/article/25e409335a4444d382bb5a271f0c693e
work_keys_str_mv	AT simonhall sentimentmoodandperformingthepastjameshurleysreenactmentofjustyouintwinpeaksthereturn
_version_	1718441370242252800

Sentiment, Mood, and Performing the Past: James Hurley's Re-enactment of “Just You” in Twin Peaks: The Return

Ejemplares similares