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RESEARCH PRODUCT

The Blues of David Lynch

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International audience; This article is an attempt to elaborate a typology of the color blue in the color films of David Lynch up to and including Mulholland Drive (2001). The color blue is considered alternately as light, matter or verbal language. The author studies the use, function, value and meaning of blue lighting, divided into static and flashing light, and of the blue objects in Blue Velvet (1986) and Mulholland Drive. The author shows how Lynch appropriates connotations Western culture, under the influence of Christian and romantic imagery, traditionally associates with the color blue in his cinematographic compositions. The author argues that this typology has bearing not only on the films' narratives and narrative structures, but also on the way the films represent the individual spectator's response to aesthetic effect as a form of nostalgia or blues.