Search results for "twin peaks"
showing 3 items of 3 documents
Victim-Naming in the Murder Mystery Series Twin Peaks: A Corpus-Stylistic Study
2020
Corpus linguistics is advancing rapidly in the study of a wide variety of genres, but is still at its infancy in the study of TV series, a genre daily consumed by millions of viewers. Murder mystery series are one of the most popular and proliferous, but no studies, to date, have used corpus-stylistics methodologies in the analysis of the pivotal character of the victim in the whole narrative. This paper applied this methodology hoping to shed some light on the quantitative and qualitative relationship between the participation roles of the characters, and the frequency and distribution of victim-naming choices in the dialogue of the two first seasons of the acclaimed TV series Twin Peaks. …
Sirreālisms Deivida Linča seriālā "Twin Peaks" (1990-1991)
2022
Sirreālisms kino nozarē ienācis jau pēc Pirmā pasaules kara. Sirreālistu kustība gan vairs nav aktuāla, taču kino jomā sirreālisma aspekti ir sastopami vēl mūsdienās. Viens no mūsdienu kino režisoriem, kurš savā darbībā ietver sirreālisma elementus, ir Deivids Linčs. Īpaši šajā sakarā tiek izceltas tādas Deivida Linča kinofilmas kā Eraserhead (1977), Blue Velvet (1986), Twin Peaks: Fire Walk with Me (1992), Mulholland Drive (2001), un seriāli Twin Peaks (1990-1991) un Twin Peaks (2017), tomēr bakalaura darbā tiks pētīts tieši seriāls Twin Peaks (1990-1991). Darbs “Sirreālisms Deivida Linča seriālā "Twin Peaks" (1990-1991)” sastāv no teorētiskās, metodoloģiskās un empīriskās daļas. Pētījuma …
Twin Peaks: Fire Walk With Me (1992) and David Lynch's Aesthetics of Frustration
2010
This article focuses on Twin Peaks: Fire Walk With Me (David Lynch,1992), the prequel to the TV series produced by Mark Frost and David Lynch (1990-1991), which represents a turning point in Lynch's filmography. The author argues that the film's aesthetics frustrate viewer expectations, and especially the fan of the TV series, by addressing the issue of the film's relation to the TV series. Special attention is payed to the aesthetics of time passing and to the accumulation of unusual signs in the first part of the film, with reference to Deleuze and Michel Guiomar, and the way they lead the spectator, fan or neophyte, to expect something Fantastic to happen. The article then addresses the …