Skip to main content Accessibility help
×
Hostname: page-component-77c89778f8-gvh9x Total loading time: 0 Render date: 2024-07-18T21:24:29.557Z Has data issue: false hasContentIssue false

Chapter 9 - Tracing the Lost Highway: Mythical Topography in David Lynch's Los Angeles Trilogy

Published online by Cambridge University Press:  19 October 2023

Marcel Hartwig
Affiliation:
Universität Siegen, Germany
Andreas Rauscher
Affiliation:
Albert-Ludwigs-Universität Freiburg, Germany
Peter Niedermüller
Affiliation:
Johannes Gutenberg Universität Mainz, Germany
Get access

Summary

For a millennium, the space for the hotel room existed, undefined. Mankind captured it, and gave it shape and passed through. And sometimes when passing through, they found themselves brushing up against the secret names of truth.

David Lynch, Hotel Room (1993)

Haunted Spaces

In his Jacques Derrida-inspired late writings The Weird and the Eerie (2016) Mark Fisher lists David Lynch's Mulholland Drive and Inland Empire as examples for the pop-theoretical approach of the author, linking these films with the concept of ‘Hauntology’ (Fisher 2016: 53–9). In doing so Fisher follows his idea that postmodern popular culture, especially pop music and cinema, are haunted by ghostly sounds, images and moods from the past or another timeframe. While referring back to Jacques Derrida's concept of hauntology (in Specters of Marx, 1994), this term originally combines the concepts of haunting and ontology (the doctrine of beings) in a neologism. According to Derrida hauntology signifies the presence (or the ‘obvious non-present’) of ideas, theories and ideologies from the past, which, even if they fail in practice, are still present in the thought structures of the present and thus shape our reception and thinking. While Derrida referred primarily to the theories of Karl Marx, which failed largely due to the end of the Cold War after 1989 and were considered to be no longer relevant, hauntology also includes the theory of ‘haunted places’, according to which certain events can be ‘imprinted’ on a place in a way that they are repeated over and over again. Such places are haunted by the past. Mark Fisher (2014) used the term to describe a musical aesthetic preoccupied with this temporal disjunction and the nostalgia for ‘lost futures’. In another article, Fisher writes on hauntology: ‘When the present has given up on the future, we must listen for the relics of the future in the unactivated potentials of the past.’ (2013: 53)

It is remarkable that David Lynch chose the iconic city of Los Angeles as the location for his most intense ‘haunted’ thrillers. Mulholland Drive and Inland Empire as well as Lost Highway unfold the cityscape of the South-Western metropolis as a topography of mythical Hollywoodland – as a part of this area was called during the early studio years – and the life stream of this area is Mulholland Drive, winding its way through the Hollywood hills.

Type
Chapter
Information
Networked David Lynch
Critical Perspectives on Cinematic Transmediality
, pp. 159 - 171
Publisher: Edinburgh University Press
Print publication year: 2023

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×