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Drawn from a major Freud Museum London conference, Freud/Lynch goes against the dubious cliché of finding Freudian solutions to Lynchian mysteries. Rather than presuming to fill in what Lynch leaves open by positing some forbidden psychosexual reality lurking behind his trademark red curtains, this book instead maintains a fidelity to the mysteries of his wonderful and strange filmic worlds, finding in them productive spaces where thought and imagination can be set to work.
With contributions from Olga Cox Cameron, Tamara Dellutri, Allister Mactaggart, Stefan Marianski, Richard Martin, Todd McGowan, Carol Owens, Chris Rodley, Jamie Ruers, Andrea Sabbadini, and Mary Wild.
Jamie Ruers and Stefan Marianski
Paperback, e-Book, Print & e-Book
Psychoanalysis, Lacanian Psychoanalysis
The films of David Lynch are sometimes said to be unintelligible. They confront us with strange dreamscapes populated with bizarre characters, obscure symbols and an infuriating lack of narrative consistency. Yet despite their opacity, they hold us transfixed.
Lynch, who once told an interviewer “I love dream logic,” would surely agree with Sigmund Freud’s famous claim that “before the problem of the creative artist, psychoanalysis must lay down its arms.” But what else might the two agree on?
With contributions from scholars, psychoanalysts, cinephiles and filmmakers, this collection of essays explores potential affinities and disjunctions between Lynch and Freud. Encompassing themes such as art, identity, architecture, fantasy, dreams, hysteria and the unconscious, Freud/Lynch takes as its point of departure the possibility that the enterprise in which these two distinct investigators are engaged might in some sense be a shared one.
Stefan Marianski is Education Manager at the Freud Museum London, where he works with young people to engage them with psychoanalytic thought. He has organised a number of events and conferences on psychoanalytic themes, and has written and lectured on dreams, sexuality, anthropology, surrealism, and masculinity. He is also a member of the Psychosis Therapy Project, which provides low-cost psychoanalytic psychotherapy for people experiencing psychosis.
Jamie Ruers is an art historian specialising in art and culture from Vienna 1900 and Surrealist art and film. She received her BA from the University of Plymouth in 2014 and her MA from Birkbeck College, University of London in 2015. She is a researcher and the events manager at the Freud Museum London where she organises talks, courses and conferences on applied psychoanalysis, typically to art, culture, and contemporary issues.
About the editors and contributors
Jamie Ruers and Stefan Marianski
“Listen, do you want to know a secret?” Lynch stays silent
What’s so Lynchian about that? Defining a cultural moment with some notes from Freud and Lacan
Dream logic in Mulholland Drive
Olga Cox Cameron
Lost angels in Los Angeles: Lynchian psychogenic fugues
“It’s a strange world, isn’t it?” A voyeuristic lens on David Lynch’s Blue Velvet
The fragmented case of the Lynchian hysteric
Möbian adventures on the lost highway
“It is an illusion”: the artful life of David Lynch
David Lynch sprawls
Waiting for Agent Cooper: the ends of fantasy in Twin Peaks: The Return
Panel discussion on Twin Peaks: The Return
Tamara Dellutri, Richard Martin, Allister Mactaggart, and Todd McGowan
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