TWIN PEAKS: THE RETURN – The Aesthetics of Slow Cinema

David Lynch’s unique aesthetic style, typically referred to as the ‘Lynchian’, boasts variety – a variety that can consist of – but is certainly not limited to – surreal and abstract imagery, musical performances, low-fi practical effects, eerie soundscapes, and atmosphere all contribute to tension between reality and dreams.

However, what is arguably striking about Lynch’s latest audio- visual, Twin Peaks: The Return, is its sullen stillness visually and sonically that can be largely attached to a slow, cinematic-style approach. This audio-video essay, Lost in Time, embarks on a long odyssey to explore how Lynch uses a slow, cinematic approach in conjunction with other aesthetic styles and thus creates a turbulent sense of audiovisual flow.

Lost In Time draws upon early film theory alongside contemporary scholarly discourse to fuel and spark this exploration of slow cinema in Twin Peaks: The Return. Throughout, Lost in Time also refers to and contrasts a wealth of directorial aesthetic styles from George Melies, Buster Keaton and Charlie Chaplin to the likes of Stanley Kubrick, Chantal Ackerman, and Tsai Ming-liang as well as Lynch’s own filmography to explore and account for Twin Peaks: The Return’s varied and particular aesthetic.

So, grab yourself a damn fine cup of coffee and I’ll see you all after the curtain call! I hope you enjoy the first audio-video essay on The Simple Cinephile.

Please be aware that there are spoilers for all seasons of Twin Peaks within the video, as well as minor spoilers for films in David Lynch’s filmography.

Lost in Time – The Aesthetics of Slow Cinema

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