The Pastiche Films of David Lynch and Postmodernism

The films of David Lynch are strongly influenced by the aesthetics of Postmodernism in the sense of Fredric Jameson, in view of the fact that they emphasize a Pastiche. The Pastiche as an empty parody criticizes the world, in which the utopia was lost, by showing the character of the nostalgia film. In addition, the films of Lynch show people, who suffer from schizophrenia in the sense of Gilles Deleuze. This recognizes that they have a presumption for the generation of new senses in the sense of Deleuze. The difference of the continuing repetitions of the schizophrenia functions as the principle of narration strategy. Lynch���s Road Movie Wild at Heart, which became a cult film, is considered as an example of it. This film consists of different genres. Therefore, it shows inevitably the form of the fragmentary narrations. The Road Movie without places of destination exposes the crisis of the action images in the sense of Deleuze. Beyond that the film shows intermediality, which is operated by the Pastiche of the different mass-medial or art forms such as pop musics, comics and films. Elvis Presley���s pop song Love me tender (1956) and Chris Isaac���s pop song Wicked Game (1989), E. C. Segar���s Comics Popeye and Sidney Lumet���s film The Fugitive Kid (1960) are examples of the artificial, which is produced by the Pastiche. Besides, it is characteristic that Wild at Heart takes after many elements of Victor Fleming���s film The Wizard of Oz (1939), in which the intertextuality between the two films stimulates opposite or negative senses. Intertextuality or intermediality, the difference of genres, fragmentary narrations, the uncertainty of places, and the clich��-figures, which come by the artificial of Pastiche to the expression, articulate the aesthetic characterizations of postmodernism