"MOVIES ARE AN authoritarian medium. They vulnerabilize you and then dominate you. Part of the magic of going to a movie is surrendering to it, letting it dominate you. The sitting in the dark, the looking up, the tranced distance from the screen, the being able to see the people on the screen without being seen by the people on the screen, the people on the screen being so much bigger than you: prettier than you, more compelling than you, etc. Film's overwhelming power isn't news. But different kinds of movies use this power in different ways. Art film is essentially teleological; it tries in various ways to "wake the audience up" or render us more "conscious." (This kind of agenda can easily degenerate into pretentiousness and self-righteousness and condescending horsetwaddle, but the agenda itself is large-hearted and fine.) Commercial film doesn't seem like it cares much about the audience's instruction or enlightenment. Commercial film's goal is to "entertain," which usually means enabling various fantasies that allow the moviegoer to pretend he's somebody else and that life is somehow bigger and more coherent and more compelling and attractive and in general just way more entertaining than a moviegoer's life really is. You could say that a commercial movie doesn't try to wake people up but rather to make their sleep so comfortable and their dreams so pleasant that they will fork over money to experience it-the fantasy-for-money transaction is a commercial movie's basic point. An art film's point is usually more intellectual or aesthetic, and you usually have to do some interpretative work to get it, so that when you pay to see an art film you're actually paying to work (whereas the only work you have to do w/r/t most commercial film is whatever work you did to afford the price of the ticket)."
Sorry it's so quiet in here. Try dugpa.com.
• New, restored 4K digital transfer, supervised by director David Lynch and director of photography Peter Deming, with 5.1 surround DTS-HD Master Audio soundtrack on the Blu-ray
• New interviews with Lynch, Deming, actors Naomi Watts and Laura Harring, composer Angelo Badalamenti, and casting director Johanna Ray
• Interviews with Lynch and cast members, along with other footage from the film’s set
• PLUS: A booklet featuring an interview with Lynch from filmmaker and writer Chris Rodley’s 2005 edition of the book Lynch on Lynch
Look at all the pictures and videos!!
Well, looks like I can't post the pictures; please go there...