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• W138774003 abstract "theories of Mikhail Bakhtin have, for last two decades, increasingly influenced critical discussions of prose narrative in languages as varied as Japanese, English, and Finnish. However, with rare exception of works like Robert Stam's very challenging book Subversive Pleasures, little attention has been paid to ways in which Bakhtin's ideas apply to film narratives. From semiotic perspective, however, soundtrack music, styles of acting, verbal intonations and accents, echoes of film conventions, and allusions to other films are just as much forms of language as words on page. Thus film and prose fiction should be equally available to examination in Bakhtin's terms-especially as these are enunciated in essays collected in Dialogic Imagination. One particularly rich opportunity to test this thesis is David Lynch's 1990 film Wild at Heart and novel on which film is based. Barry Gifford's Wild at Heart, also published in 1990, attracted Lynch's attention while still in galleys. One probable reason is that novel features sorts of weird characters and settings that Twin Peaks and Blue Velvet have taught us to associate with David Lynch. I would proposed another reason to be Lynch's recognition that Gifford-like Lynch himselfis committed to stylistic strategy that Bakhtin calls dialogism: assumption that all utterances inescapably engage in with other utterances, present and absent, and that, furthermore, all of these possible utterances carry traces of their former social contexts. As Bakhtin writes, The living utterance, having taken meaning and shape at particular historical moment in socially specific environment cannot fail to brush up against thousands of living dialogic threads, woven by socio-ideological consciousness around given object of utterance; cannot fail to become active participant in social dialogue (276). By exhaustively analyzing work of writers such as Rabelais and Dostoevsky, Bakhtin champions narratives that reject what he calls monologism-that is, single, authoritative narrative voice intended to convey completed thematic message-in favor of contending, unharmonized voices intended to communicate openness and process-even some measure of confusion. Lynch's and Gifford's shared commitment to dialogic strategy may be inferred from critical responses to their versions of WiW at Heart. Although won Palm d'Or at 1990 Cannes Film Festival, David Lynch's film received very mixed reviews from American film critics. In his August 20 review for Time, Richard Corliss wrote, This handsome, volcanically violent is Lynch's first flat-out comedy; he and his ensemble... work at high pitch and have swell time at it (63). David Denby was less pleased, writing in New York Magazine that film is a malignant work ... full of self-mocking trash as well as perfervid excitement. Sadly, according to Denby, the trash is not redeemed by joke (60). Jonathan Rosenbaum argued more censoriously in Sight and Sound that film is merely an anthology of and conceits that is tied to plot only in sense that boat is moored to dock (277). Most displeased of all, perhaps, was Terrence Rafferty, who complained in New Yorker that film's shocks have so little resonance; weirdness here is inexpressive and trivial, even silly. Rafferty agreed with Corliss in classifying Lynch's film as road movie but disagreed in observing that this is an exhausted genre (90). I find significant that both approving Corliss and disapproving Rafferty judge Lynch's film in terms of its conformity to some preexistent form of organic narrative. Corliss finds parts of film monologically adjusted to one another; Rafferty and Rosenbaum find them inharmonious. Although most reviewers were better disposed toward Gifford's novel, they approached from same organicist critical angle. …" @default.
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• W138774003 date "1995-01-01" @default.
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• W138774003 title "Wild at Heart Three Ways: Lynch, Gifford, Bakhtin" @default.
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