“I am dead yet I live”: Revealing the Enigma of Art in Twin Peaks: The Return
For fans, returning to Twin Peaks for a third season was always going to be wrought with intense speculation, anticipation, and, perhaps, a hint of trepidation. After all, a great deal has happened in the intervening quarter of a century, not least in the ways in which television is produced, distri...
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| Formato: | article |
| Lenguaje: | EN |
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New York City College of Technology
2020
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| Acceso en línea: | https://doaj.org/article/b5df16b23349491abb01236c0e32bc12 |
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| Sumario: | For fans, returning to Twin Peaks for a third season was always going to be wrought with intense speculation, anticipation, and, perhaps, a hint of trepidation. After all, a great deal has happened in the intervening quarter of a century, not least in the ways in which television is produced, distributed, and consumed. Would Twin Peaks be able to maintain its quirky and mysterious allure in the twenty-first century? Would David Lynch and Mark Frost be able to pull it off again? These questions were answered in a remarkable season which refused to provide a simple, nostalgic return to the town of Twin Peaks. Indeed, the season greatly expanded the geographical range and focus of inquiry, and aesthetic experimentation, to suggest that BOB’s evil has extended its criminal reach into a much wider orbit in the intervening period. Would FBI Special Agent Dale Cooper be able to offer us hope? |
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