| "slow dissolves, spotlighting, extreme close-ups, figures
who emerge out of darkness, shots held an extra beat to catch the sound
and texture of a place or thing . . . an interest in facial deformities,
exaggerated noise, sick puns and comically banal dialogue . . . ridiculously
specific characters . . . chronological confusion--brand names from different
eras--so that everything takes place in dream time" [Richard M. Woodward,
"A Dark Lens on America." New York Times Magazine, 14 January 1990:
42]. |
.
. . the absence of linearity and narrative logic, the heavy multivalence of
the symbolism, the glazed opacity of the characters’ faces, the weird
ponderous quality of the dialogue, the regular deployment of grotesques as
figurants, the precise, painterly way scenes are staged and lit, and the over
lush, possibly voyeuristic way that violence, deviance, and general
hideousness are depicted. [David Foster Wallace,
A Supposedly Fun Thing I’ll Never Do
Again: Essays and Arguments. Boston: Little, Brown, 1997.] |
"the sinister fluidity, . . . the shocking relief, the
elegant gesture, the deadpan joke, the painterly pointillism . . . the
erotic violence, the lingering close-up camera, the rampaging of non sequiturs,
the underlining and italicizing of emotions, the warping of the light,
the appetite for all that's grotesque and quirky, a sense of unconscious
dreaming. . . moon thoughts . . . sadness . . . demonic possession" [John
Leonard. "The Quirky Allure of Twin Peaks." New York, 7 May
1990: 36]. |
