By Jeffrey Andrew Weinstock
This quantity showcases the ways that new theoretical paradigms and cultural emphases can reinvigorate and improve realizing of what dual Peaks was once and what it has turn into because it went off the air in 1991.
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Additional resources for Return to Twin Peaks: New Approaches to Materiality, Theory, and Genre on Television
22 Jeffrey Andrew Weinstock Hague, Angela. ” Full of Secrets: Critical Approaches to Twin Peaks. Ed. David Lavery. Detroit, MI: Wayne State University Press, 1995. 130–43. Hayes, Marisa C. and Frank Boulègue, eds. Fan Phenomena: Twin Peaks. Bristol: Intellect, 2013. Hills, Matt. Fan Cultures. London: Routledge, 1992. Holt, Jason. ” The Philosophy of TV Noir. Eds. Steven Sanders and Aeon J. Skoble. Lexington: University Press of Kentucky, 2008. 247–60. Huskey, Melynda. 4 (1993): 248–54. (Reprinted in Thorne, et al, Twin Peaks in the Rearview Mirror).
Desmet, Christy. ” Full of Secrets: Critical Approaches to Twin Peaks. Ed. David Lavery. Detroit. MI: Wayne State University Press, 1995. 93–108. ———. ” Twin Peaks in the Rearview Mirror: Appraisals and Reappraisals of the Show That Was Supposed to Change TV. Eds. John Thorne, Craig Miller, and David Lavery. p. 2012. Kindle file. Deutsch, Helen. 2 (1993): 137–58. Devlin, William J. and Shai Biderman. The Philosophy of David Lynch. Lexington: University Press of Kentucky, 2011. Dienst, Richard. ” Still Life in Real Time: Theory after Television.
What Twin Peaks emphasizes through its things, however, is the gothic underside to what Ian Bogost refers to as “the awesome plenitude of the alien everyday” (134). Lynch and Frost, while in a sense returning the things to themselves, also showcase the gothic ramifications of confusing people with things and things with people. Twin Peaks thus represents a form of “sensuous enchantment with the everyday world” (Bennett xi), but the spell it weaves is the off-kilter anxiety of nightmare in which things—including objectified people—repeatedly act in the way Graham Harman suggests all objects do: withdrawing into themselves in such a way that they are fundamentally unknowable (see Harman’s Quadruple Object).
Return to Twin Peaks: New Approaches to Materiality, Theory, and Genre on Television by Jeffrey Andrew Weinstock