David Lynch

Lynch, David. CATCHING THE BIG FISH: MEDITATION, CONSCIOUSNESS, AND CREATIVITY Scarce Signed Copy of The First Hardcover Edition. New York City, NY: Jeremy P. Tarcher/Penguin, 2006.
Hardcover. First Edition. First Printing. 181 pages. As New. The film director's debut collection of essays on subject. One of the most important cultural events of our time. The First Hardcover Edition. Precedes and should not be confused with all other subsequent editions. The First Edition is now scarce. Presents David Lynch's manifesto and illuminating guide to the artistic process. "In this rare work of public disclosure, filmmaker David Lynch describes his personal methods of capturing and working with ideas, and the immense creative benefits he has experienced from the practice of meditation. Over the last four decades, David Lynch has created some of the best-known and widely-discussed screen works of our time. This distinctive writer-dire ctor's art bears not only the mark of box-office success, but also critical acclaim and cultural posterity. Yet Lynch generally reveals little of himself or the ideas behind his work. Now he provides a rare window into his methods as an artist and his personal working style. In brief chapters, Lynch describes the experience of 'diving within' and 'catching' ideas like fish, and then preparing them for television or movie screens, and other media in which Lynch works, such as photography and painting. Provides unprecedented insight into Lynch's methods, it also offers a set of practical ideas that speak to matters of personal fulfillment, increased creativity, and greater harmony with one's surroundings. The book comes as a revelation to the legion of fans who have longed to understand Lynch's deeply personal vision better" (Publisher's blurb). Those who expect a "how-to" book will be deeply disappointed because among other things, Lynch is disdainful of "how-to" books. "Catching The Big Fish" is his creative manifesto, written in limpid, accessible, and elegant prose. A "must-have" title for David Lynch collectors. <b><i> This title is very prominently and beautifully signed in black pen on the half-title page by David Lynch. This title is now highly collectible. This is one of very few signed copies of the First Hardcover Edition still available online and has no flaws, a pristine beauty. A very scarce signed copy thus. </b></i> One of the greatest living American writer/artists. A flawless collectible copy. (SEE ALSO OTHER DAVID LYNCH TITLES IN OUR CATALOG). ISBN 1585425400. Signed by Author.

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WILSON, ERIC G. The Strange World Of David Lynch: Ironic Religion From Eraserhead To Mulholland Drive. The Continuum Publishing Company, New York: 2007.

176 pages. Anyone who has sat through the dark and grainy world of Eraserhead knows that David Lynch's films pull us into a strange world where reality turns upside down and sideways. His films are carnivals that allow us to transcend our ordinary lives and to reverse the meanings we live with in our daily lives. Nowhere is this demonstrated better than in the opening scene of Blue Velvet when our worlds are literally turned on their ears. Lynch endlessly vacillates between Hollywood conventions and avant-garde experimentation, placing viewers in the awkward position of not knowing when the image is serious and when it's in jest, when meaning is lucid or when it's lost. His vexed style in this way places form and content in a perpetually self-consuming dialogue. But what do Lynch's films have to do with religion? Wilson aims to answer that question in his new book, The Strange World of David Lynch. To say that irony (especially of the kind found in Lynch's films) generates religious experience is to suggest religion can be founded on nihilism. Moreover, in claiming Lynch's films are religious, one must assume that extremely violent and lurid sexual films are somehow expressions of energies of peace, tranquility, and love. Wilson illuminates not only Lynch's film but also the study of religion and film by showing that the most profound cinematic experiences of religion have very little to do with traditional belief systems. His book offers fresh ways of connecting the cinematic image to the sacred experience. The Table Of Contents is as follows: Introduction: The Ironic Religion of David Lynch, Chapter One: Eraserhead and the Ironic Gnosis, Chapter Two: Blue Velvet and Paradoxical Chastity, Chapter Three: Sacred Sensuality in Wild at Heart, Chapter Four: Positive Negation in Lost Highway, Chapter Five: Real Dreams in Mulholland Dr., Conclusion: David Lynch's Nihilism. Hardcover with dustjacket. Brand new book.

[SW: (Key Words: Eraserhead, David Lynch, Film, Blue Velvet , Religion, Eric G. Wilson, The Strange World of David Lynch, Nihilism, Wild at Heart, Lost Highway, Mulholland Dr., Cinema)]

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WILSON, ERIC G. The Strange World Of David Lynch: Ironic Religion From Eraserhead To Mulholland Drive. The Continuum Publishing Company, New York: 2007.

176 pages. Anyone who has sat through the dark and grainy world of Eraserhead knows that David Lynch's films pull us into a strange world where reality turns upside down and sideways. His films are carnivals that allow us to transcend our ordinary lives and to reverse the meanings we live with in our daily lives. Nowhere is this demonstrated better than in the opening scene of Blue Velvet when our worlds are literally turned on their ears. Lynch endlessly vacillates between Hollywood conventions and avant-garde experimentation, placing viewers in the awkward position of not knowing when the image is serious and when it's in jest, when meaning is lucid or when it's lost. His vexed style in this way places form and content in a perpetually self-consuming dialogue. But what do Lynch's films have to do with religion? Wilson aims to answer that question in his new book, The Strange World of David Lynch. To say that irony (especially of the kind found in Lynch's films) generates religious experience is to suggest religion can be founded on nihilism. Moreover, in claiming Lynch's films are religious, one must assume that extremely violent and lurid sexual films are somehow expressions of energies of peace, tranquility, and love. Wilson illuminates not only Lynch's film but also the study of religion and film by showing that the most profound cinematic experiences of religion have very little to do with traditional belief systems. His book offers fresh ways of connecting the cinematic image to the sacred experience. The Table Of Contents is as follows: Introduction: The Ironic Religion of David Lynch, Chapter One: Eraserhead and the Ironic Gnosis, Chapter Two: Blue Velvet and Paradoxical Chastity, Chapter Three: Sacred Sensuality in Wild at Heart, Chapter Four: Positive Negation in Lost Highway, Chapter Five: Real Dreams in Mulholland Dr., Conclusion: David Lynch's Nihilism. Softcover. Brand new book.

[SW: (Key Words: Eraserhead, David Lynch, Film, Blue Velvet , Religion, Eric G. Wilson, The Strange World of David Lynch, Nihilism, Wild at Heart, Lost Highway, Mulholland Dr., Cinema)]

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Lynch, David: David Lynch, Talking, SCHWARZKOPF & SCHWARZKOPF, ISBN: 3896028014
David Lynch ist Kult. Assoziative Bildreihungen, verstörende Traumsequenzen und eine morbide Ästhetik sind seine Markenzeichen. Bereits mit seinem ersten Spielfilm Eraserhead (1976) gelang es dem Meister, weltweit eine Clique eingeschworener Fans für sich zu begeistern. Die Filme Elefantenmensch und Dune Der Wüstenplanet letzterer war ein finanzielles Desaster festigten seinen Ruf als Genie unter den Filmfreaks. Mit Blue Velvet, dem Film, in dem Lynchs damalige Lebensgefährtin Isabella Rossellini neben Dennis Hopper die Hauptrolle spielt, gelang ihm 1986 der internationale Durchbruch und auch mit Wild At Heart (1990) feierte er Triumphe. Der nächste Höhepunkt in Lynchs beeindruckender Filmographie war der Pilotfilm zur Serie Twin Peaks, zu der er auch das Drehbuch verfasste und bei einigen Folgen Regie führte. Millionen Menschen fieberten bei der Suche nach dem Mörder von Laura Palmer mit, obwohl den meisten klar war, dass es wohl keine Auflösung nach dem klassischen Who-Dunnit-Schema geben würde. In den Neunzigern konnte er mit mit Lost Highway und 2001 mit Mullholland Drive weitere Erfolge vorzeigen. Das Buch versammelt Originalzitate des wohl eigenwilligsten Regisseurs Hollywoods. Aus den Originaltönen entsteht eine spannende Biographie, beginnend mit David Lynchs Aufwachsen im Amerika der fünfziger und frühen sechziger Jahre. Diese Phase hat sein Schaffen nachhaltig geprägt beschwört er die dunkle Seite der amerikanischen Kleinstadt in den Fünfzigern doch immer wieder in seinen Filmen herauf. Aus dem Alltäglichen bezieht er seine Inspiration, lässt es in Horror und Gewalt umschlagen und hebt mit seiner Erzählweise die Einheit von Raum und Zeit auf. Die Biographie erzählt von seinen Anfängen als Filmemacher, zusammen mit seiner damaligen Ehefrau Peggy, und von seinem Aufstieg in den späten siebziger und achtziger Jahren. In dieser Zeit trifft er auch auf Gleichgesinnte wie seine Muse Laura Dern, Kyle MacLachlan, Isabella Rosselini und seine langjährigeLebensgefährtin Mary Sweeney, die ihn auf seinem weiteren künstlerischen Weg begleiten. In den neunziger Jahren ist er in Hollywood etabliert.Mit seinem aktuellen Film Inland Empire strapaziert er die Aufnahmefähigkeit selbst seiner größten Fans. Das dreistündige Werk verabschiedet sich von der Narration. Ein Feuerwerk der Verwirrung, eben ein echter "David Lynch".

NEUBUCH! 2008. 173 S. m. 16 z. Tl. farb. Fotos. 20,5 cm

[SW: Regisseure/-innen (Einz.),Lynch, David]

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