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Deleuze and the Cinemas of PerformancePowers of Affection$
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Elena del Rio

Print publication date: 2008

Print ISBN-13: 9780748635252

Published to Edinburgh Scholarship Online: March 2012

DOI: 10.3366/edinburgh/9780748635252.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 14 October 2019

Powers of the False

Powers of the False

Chapter:
(p.178) Chapter 5 Powers of the False
Source:
Deleuze and the Cinemas of Performance
Author(s):

Elena del Río

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748635252.003.0006

This chapter offers another perspective on the dismantling of representation and narrative that makes affect synonymous with the film image, proposing an impersonal, affective unconscious in place of the representational, Freudian unconscious, and ethical experimentation in place of binary moral judgments. It reviews David Lynch's films Mulholland Drive and Blue Velvet. The chapter suggests that the film's pivotal scene at Club Silencio in Mulholland Drive is its most intense rendition of an affective-performative cinema and describes Lynch's separation of affect from moral binaries in Blue Velvet.

Keywords:   film image, affect, David Lynch, Mulholland Drive, Blue Velvet, affective-performative cinema, moral binaries

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