We Lived Inside a Dream… The Uncanny Architecture of David Lynch’s Twin Peaks by Orhan Ünlü

WE LIVED INSIDE A DREAM… THE UNCANNY ARCHITECTURE OF DAVID LYNCH’S TWIN PEAKS

ORHAN KEMAL UNLU

We Lived inside a dream… the uncannY archItecture OF DAVID LYNCH’S TWIN PEAKS

We Lived Inside a Dream… The Uncanny Architecture of David Lynch’s Twin Peaks

By Orhan Kemal Unlu Masters of Architecture Kent School of Architecture, 2018

Student No.:

16916698

Word Count: 8796 Module:

AR602 Dissertation

Stage:

5 (2017 -2018)

Institution:

University of Kent

Acknowledgements

I would like to extend my gratitude to the following people for their assistance, guidance and encouragement. All of which has been extremely valuable in the development, research and completion of this dissertation.

Dissertation Supervisor: Howard Griffin

Michael Richards Michael Holmes Coats Miles Griffies Dr Helen Griffies Dr Anna Katharina Schaffner

Nikolaos Karydis Murray Smith Maurizio CinquegraniÂ Roanna Mitchell Luma Tabbaa

The completion of my primary research would not have been possible without the participation of the following people. Their contributions are sincerely appreciated and gratefully acknowledged.

Amy Hewes, Aylin Unlu, Brewster Surridge, Charlie Whittington, Colin Cresser, Debra Register, Doru Manaila, James Cotton, Joe Crossland, Kerem Sivri, Koray Unlu, Mariam Itani, Marie Unlu, Mucahit Unlu, Natalie French, Neha Ansari,Â Nyamdors Boldbaatar, Rafaella Siagkri, Sam Hope, Samuel Martin, Stephanie Elward, Surabhi Pandurangi,Tessa Dodds, Timothy Lince.

Abstract

An uncanny architecture distinguishes itself by separating familiar design attributes, associated with culture and identity, from the places they inhabit. Creating an unspoken ceremony of psychological engagement, where an occupier can truly offer themselves to the spatial experience. Momentarily sacrificing their preconceptions and emotional bonds, to engage with the idiosyncrasies of the architecture. A societal preoccupation with secrecy and voyeurism are intrinsic to the uncanny, exploiting uncertainties or revealing profound mysteries. David Lynch’s work elaborates on these conventions, weaving them into the collective subconscious, establishing a distinct Lynchian style, inhabited by a definitively uncanny architecture.

This thesis investigates how the portrayal of the built environment and architecture in Lynchian narratives elaborates a language of the uncanny, and to what affect. Investigating the origins and development of the term, followed by primary tests and case studies. What are the benefits and detriments of creating such environments for observers & occupiers, and how have they provided a forum to question social structures and the morality of the omniscient onlooker.

Whilst understanding how Lynch uses uncanny architecture, a logical approach to applying the concept emerges. Defining a set of conventions to appraise how the design, site and approach to architecture impacts the psychology of its visitors & occupants. Although the surrealist filmography of David Lynch is explicitly puzzling, he consistently strikes an emotional chord with his audience. The subjective dispositions of humanity are inherently unique. However Lynch materialises feelings into his work, on the cusp of comprehension, forcing the audience to engage with a field beyond known logic. He offers the introspective experience of architecture, gaining a greater self-awareness of mysteries hidden in plain sight.

‘You always have to leave an opening for other forces to do their thing. When you’re on your own, just writing these things down, it’s so limited, and you want to somehow open it up and throw it out and intervene. To work inside a dream. If it’s real, and you believe in it, you can say almost anything...’1

- David Lynch, 2005

Rodley, C. 2005. p.18

Contents

Acknowledgements

Abstract v

1.0 Introduction 02

2.0 Context 2.1 The Uncanny 05 2.2 Uncanny Architecture 09 2.3 Uncanny & Lynchian 11 2.4

Uncanny Architecture in Twin Peaks

3.0 Method 19

4.0 Case Studies 4.1 The Gas Station 23 2.2 The Hotel 29 2.3

The Stage & Screen

5.0 Conclusions 5.1

Contrasts & Comparisons

5.2 Overall Conclusion 45

Bibliography 47 Illustrations 56 Appendices 60

Fig 1.1.

Lynchâ&#x20AC;&#x2122;s Uncanny Photographic Perceptions of Lodz.

1.0 Introduction

Sensory perceptions of form, space, structure, environment and materiality, impact the human psyche. An occupier subconsciously interacts with their context, placing themselves in relation to the constructs that surround them. Defining position and orientation, as well as qualitative relationships. By perceiving then responding to the nuances and idiosyncrasies of each design attribute; culture and history is materialised, forming a familiar identifier. As a human instinct, ‘we tend to rely on the familiar and regularized to generate patterns of experience… but familiarity can be subverted and interrupted by what is known as the uncanny.’2

This is defamiliarisation; manipulating established conventions, to destabilise an expected relationship with place. Through processes such as beautification, distortion, replacement and relocation, a building loses typological qualities, disrupting the occupier’s subconscious expectations. These expected perceptions are a result of habituality, and media globalization.3 ‘The concept of the everyday, often manifests itself in the domains of architecture, design, material culture, film, television, art and photography.’4 Uncanny design in the familiar context of daily routine is alerting. Inducing a type of cognitive error from a veiled manipulation, and evoking an intellectual uncertainty. Comparable to conventional emotive responses, like shock, but with varying intensities of affect, related to the unique aspects of personality and susceptibility to mainstream indoctrination. This study examines the discourse of experiencing uncanny architecture, identifying its psychological impact on observers and inhabitants.

A purveyor of the uncanny across a spectrum of the arts is renowned film director, David Lynch. He has cultivated a career from 1966, with depictions of the strange and surreal, dreams and the subconscious, and the conflict between the ideals of Americana and the archaic primitivisms of industrialisation. His work occupies ‘a very peculiar logic, requiring [the audience] to renounce all prior interpretations of behaviour and facts, whether taken separately or in succession.’5 It’s this requirement that divides his audiences, as the intuitive nature of his film-making ensures ambiguity, allowing the audience to formulate their own interpretation, be it an outright dismissal.

2 3 4 5

Consbruck, R. 2010. p.3 The process by which a company, etc, expands to operate internationally (Collins English Dictionary. 2016). Moran, J. 2005. p.9 Chion, M. 1995. p.21

Fig 1.2. the Fireman and SeĂąorita Dido Reside In the antiquated Fortress in Twin Peaks: The Return.

With the return of his seminal television series; Twin Peaks, this study examines the elaboration of the uncanny through prominent building typologies. Analysing its depiction from within the narrative, and considering the audienceâ&#x20AC;&#x2122;s perceptions. Determining how and to what effect Lynch has cultivated uncanniness. Following an examination of established studies of uncanny architecture, literature and psychoanalysis, a series of primary research studies examine emotive and behavioural responses to the architectural typologies that populate the fictional Washington town. An uncanny architecture distinguishes itself by separating familiar design attributes associated with culture and identity from the places they inhabit. Perhaps to scandalise, shocking the senses with chaotic subversions, or inversely a means to clarify. Alert the occupier to something that is otherwise lost in the mire of the familiar.

2.0

conTeXT

2.1

The Uncanny

Fig 2.1.1. Henry Spencer endures a traumatic dinner with his girlfriend’s family in Eraserhead.

The uncanny is ‘characterised by a supernatural wonder, beyond normal expectations’.6 Whilst usually manifesting within daily routine, distorting the familiar, evoking a sense of unease and illegitimacy. Imagine a dinner party, with roast poultry as the main course. As the bird is carved, it begins to rive, as if it is not entirely lifeless. This is shocking, nauseating, and uncanny, from the familiar context of the event.7 It is disturbing to witness an abnormality to something usually comforting, like a meal. ‘The human mind learns to expect and react… the uncanny subverts these expectations, distorting what we have learnt to expect.’8 The surrounding context of the event remains familiar, and it is only after the uncanny entity is revealed, that the observer is aware of its existence, going beyond the everyday.

6 7 8

Collins English Dictionary. 2016 Lynch, D. Eraserhead. 1977 Griffies, H. 2017

Fig 2.1.2. Henry Spencer Walks Through the Industrial Sprawl of Eraserhead.

The uncanny confuses what is real and what is fiction. Inversely ‘reality must be regarded as a pivotal frame of reference, when determining if something is uncanny or not… the mimetic act of constructing a reality, aims to be fixed or empirical9.’10 It reconstructs what is known from the human experience, testing our psychological resilience, but exists in an indistinguishable reality. It occurs on a physical plane, revealed amongst surface level pleasantries. Enticing an audience through suggesting a hidden substratum. What might be a common occurrence distorts, and when closely observed; reveals a terrible danger or terrific truth.

Inspired by the research of Ernst Jentsch the prolific 1919 essay ‘Das Unheimliche’11 by Sigmund Freud defined the term ‘as the return of the repressed, of something which was once familiar but troubling and the knowledge of which returns when we encounter something that reminds us of it… he reflects on the German words, ‘heimlich’ [homely, but secret], and unheimlich [unhomely, but known].’12 Although the term unheimlich suggests an opposite to heimlich or homely, for an unheimlich encounter to be considered known, it must previously have been heimlich. This perceivable change is driven by cultural and social impacts, resulting in distortions of the familiar, and suggesting the observer is confronted by a repressed memory.

9 10 11 12

Reality based on observation or experience rather than theory or pure logic. (Collins English Dictionary. 2016). Echard, P. 2014. p. 33 German for ‘The Uncanny’. Freud, S. 1919 Schaffner, A. K. 2017

Fig 2.1.3. the emotionaL sPectrUm oF Uncanniness at winkies diner in mULhoLLand drive.

Psychoanalyst Jacques Lacan, believed an uncanny experience is both born from, and creates confusion. The uncanny place may be imperceptible ‘in the field where we do not distinguish bad and good, pleasure from displeasure… the resultant irreducible anxiety is gesturing towards reality.’13 Imagine breakfast with an associate in a diner. But you grow concerned with a nightmare, which takes place in this location. You are anxious and believe a being outside is the cause. Your associate re-enacts the nightmare, and this increases your anxieties. As you leave the diner, the creature suddenly manifests for a brief period, but enough to induce a catatonic state.14 This scenario merges realty and fiction. Exemplifying how abstracting place, process and people alters how one may perceive a situation, and describe it as uncanny. The fear is undeniable but illogical, as the creature is physically terrifying, but irregular to the context. It potentially represents a repressed experience to be reconciled.

The uncanny gained renewed interest with robotics professor Masahiro Mori’s 1970; Theory of an Uncanny Valley. Graphically represented, this valley ‘denotes the point an inanimate object appropriates enough animate, and human qualities to become disturbing… being almost-human, is instinctively strange and threatening.’15 In creating social robots, functioning as newsreaders or therapy tools, the perceived threat comes from an inherent ambiguity. Is it a human or not? In striving for anonymity, the unfamiliar attributes become heightened; such as stilted movement or irregular features, discomforting the observer. With some responses, aggressively disapproving. Although the uncanny may terrify, a jolt can provoke the abandonment of human instinct. The act of strange making is an opportunity to prompt and question perceptions, exploring subliminal, unfamiliar aesthetics.

13 14 15

Royle, N. 2003. p. 61 Lynch, D. Mullholland Drive. 2001 Lischetzke, T, et al. 2017. p. 5

Fig 2.1.4. Newsreader Kodomoroid, designed to Look and Act like a human.

2.2

Uncanny Architecture

Uncanny architecture is psychologically manipulating. Driving inhabitants to explore emotions and thoughts that are otherwise obscured. Lebbeus Woods described uncanny designs as ‘resisting imperatives of the moment… not as barricades, but in poetics or visionary dissent.’ 16 Dissenting from conventions to engage in new discussions. Not completely upheaving tradition, but rather substituting the rules. Potentially considered an outright rebellion against authoritative architecture, genuine approaches to uncanny design aspire to connect with humanity on a metaphysical level by abstracting the physical. Transcending aesthetic beauty from facades to mental planes.

With outsider architects Rudolf Steiner and John Hejduk; uncanny architecture presents ‘ethical intensity, solemnity, humour, compassion, and the absorption of the suffering of others in an attempt to heal… binding the wounds of the world by drawing its horrors.’17 Exemplified by Hejduk’s “House of the Suicide and House of the Mother of the Suicide” monuments in Prague. The structures consist of steel & corroded steel cladding with forty-nine spikes erupting from the top of each. In memory of Jan Palach, a Czech student whose self-immolation protested the 1968 Soviet Union invasion of Czechoslovakia.

The abrasive textural quality depicts the student on fire. However, the familiar forms established through studies of proportion are defamiliarized through expressive abstractions. Architectures proportional relationship to the human body was established with classical traditions, however ‘this renewed appeal to corporeal metaphors is evidently based on a body in pieces, fragmented, deliberately torn apart and mutilated beyond recognition.’18 This may be a grotesque precedent, but through extrapolating the imagery, there is an immediacy to the reflection of a deconstructing body; the uncompromising statement of Palach’s demise is materialised and emotively conveyed.

Uncanniness is subjective. Each individual witness forms meaning, interpreted with reference to unique human experience. Reoccurring responses include lucidity, deliverance and tension.

16 17 18

California College of the Arts. 2013 Mical, T. 2005. p. 121 Vidler, A. 1992. p. 69

Fig 2.2.1. John Hejdukâ&#x20AC;&#x2122;s House of the Suicide and House of the Mother of the Suicide.

2.3

Uncanny & Lynchian

Fig 2.3.1. Francis Bacon’s ‘Two Figures at a window’ Referenced By David Lynch in Twin Peaks.

Freud differentiated between literary and life experiences of the uncanny. Literature ‘is not submitted to reality-testing… what is not uncanny in fiction would be in real life; and there are more means of creating uncanny affects in fiction than in real life.’19 Constructed fiction disconnects an audience from the gravitas and personal affliction of the uncanny. Although, the reader contributes by inhabiting missing information with their own preconceptions and memories. Particularly with the immersion of visual and audible media. From the 20th century, distinctly prolific uncanny works have come from artists Francis Bacon, Rene Magritte and Edward Hopper. From distorted abstract portraits, to scenic realism. Exploring the tension between the relationships of people and place. These works have been a key influence on David Lynch. Who describes Francis Bacon’s work in 1966 as ‘thrilling… igniting the heart and mind… like a beautiful storm, creating a deep love and flow of excitement.’20 This thrill provoked Lynch to explore the uncanny, as a fundamental characteristic of the Lynchian style.

19 20

Freud, S. 1919. p. 249 VoorDeFilm. 2017

Fig 2.3.2. David Lynch in the Lobby of Henry Spencer’s Apartment Building in Eraserhead.

Writer David Foster Wallace proposes ‘a definition of Lynchian [as a] term referring to an irony, where the very macabre and the very mundane combine in a way to reveal the former’s perpetual containment within the latter.’21 Comparable to the uncanny, where something familiar and inconspicuous, is disturbed to unveil a hidden truth. Both terms are a means to present new information through reframing an existing picture. Lynch’s work is completed by each audience member’s unique psychological disposition, like any uncanny entity. Through avoiding exposition,22 each viewer has a different response: ‘the painting or film remains the same. But the person changes. Whoever stands in front of a painting is getting a different thing… I think of it as a circle…travelling from the painting, to the person, back to the painting… building a strange internal dialogue… different for each person whilst the painting remains the same.’23 A Lynchian work exists in a circle of subjectivity, completed by the audience.

21 22 23

Wallace, D. F. 1998. p. 149 The act of expounding or setting forth information. (Collins English Dictionary. 2016). VoorDeFilm. 2017

Throughout Lynch’s Twin Peaks24 dream sequences are presented as a recurring motif to transplant the characters and audience to visual and spatial representations of the human subconscious. As an arena for ambivalent interpretations, and a defamiliarisation of context and character, maintaining a heightened sense of mystery, pivotal to the narrative. The most eminent dream location is within the “Black Lodge”. An extradimensional place, temporarily accessible and without a defined external form ‘the movement and speech of the [inhabiting] characters are immediately jarring, as if they are floating, while the dialogue sounds like a foreign language…’25 This production technique is uncanny. As the actors performed a phonetic, backwards version of the script, reversed in the edit, revealing chaotic disjointedness, referencing dream logic. The unpredictable nature of this method, cultivates textural qualities from imagery and performance, motivating unexpected insight from familiar components.

A prominent Lynchian convention, portraying duplicity in characters and setting, reflects Freud’s concept of “the double”, exploring ‘fluidity between the conscious and unconscious.’26 Lynch never clearly dictates what is real and what is a dream or state of unconsciousness. This translates to the psychology of his characters. In Blue Velvet27, Dennis Hopper’s portrayal of antagonist Frank Booth is multi-faceted; ‘his persona alternates between infantile demands for his mother and pure misogynistic rage.’28 Resulting in disturbing scenes of abuse, whilst retaining the bizarre rhetoric that occupies the Lynchian universe. To heighten the omens that are either invisible or ignored, and epitomise the depravity of human emotions, whilst imparting a feeling of departing from the ordinary. The paradox surrounding a Lynchian construct, is that it can be recognised almost immediately but is difficult to categorically define, like the uncanny.

Lynch consistently portrays uncanny architecture through ‘exaggerating depth of field…. black and white signalling time changes… spotlighting and selective lights demarcating spatial boundaries… weather presence… [and] contrasting peaceful long shots with extreme close-ups.’29 These conventions distort the audience’s perception of the filmic medium, whist highlighting architectures potential to house the uncanny.

24 25 26 27 28 29

Co-created by Mark Frost Consbruck, R. 2010. p. 10 Seitz, B. 2014. p. 178 Lynch, D. Blue Velvet. 1986 Consbruck, R. 2010. p. 17 Cozzolino, R. et al. 2015. p. 33

Fig 2.3.3. The Duplicity of Frank Booth In Blue Velvet.

2.4

Uncanny Architecture in Twin Peaks: The Return

Fig 2.4.1. FBI Special Agent Dale Cooper and Laura Palmer In The Red Room In Twin Peaks: The Return.

Over the course of six decades, ‘Lynch has exhibited an acute spatial awareness… from apartments immersed in industrial noise to decrepit towns in the Deep South… green fields and grain elevators in Iowa and Wisconsin… plotting small town family homes, grubby motels and empty highways.’30 The Lynchian construct of the elusive subconscious begins by uncovering the enigma of these built environments. As existing and familiar structures, Lynch’s auteurist language and acute personification of architecture doesn’t always physically manipulate conventions, but with filmic interventions, a dense atmosphere engulfs the characters, and reflects onto the omniscient onlookers. Lynch portrays architecture as ’claustrophobic, mysterious, irrational, with frightening openings that lead into other dimensions.’31 Bluring the boundary between the literal and the metaphorical, with metaphysically porous constructs. A space might externalise a psychological state of mind, then suddenly manifest or signify another. To be Lynchian and uncanny is to create a characterful atmosphere, and it is the built environment that shapes it. 30 31

Martin, R. 2014. p. 15 Schaffner, A. K. 2017.

Fig 2.4.2. The Corruption of American Typologies in The Aftermath of Nuclear Testing.

During project development he describes ‘going out into the street and seeing buildings…exposing myself to what exists, to make different things.’32 A method to record the familiar and its associated atmosphere. Registering the emotive peculiarities of being in the presence and within existing built spaces, to then manipulate. With “Twin Peaks: The Return”, Lynch offers a contemporary work that arrives at a familiar setting. Travelling across the United States, from the titular Pacific North-Western logging town to the ominous neon glow of Las Vegas. Typologies synonymous with the American dream are presented in an uncanny way, perhaps as a nightmare.

Originally centring on the atrocity of a murder in a small-town community, a prominent theme running through the series is the power of violence and the preciousness of human existence. This continues with the return, chronicling the genesis of man-made violence and the terror and tragedy that ensues. Notably portraying a nuclear test explosion, from an overview of its detonation to within the firestorms, ‘history is reduced to a set of nostalgic stylings…but as an exposé of the violent undertow established in the original folksy vision.’33 Lynch presents a view with his portrayal, depicting the recognisable loom of a mushroom cloud, and juxtaposing this with scenes of contextual Americana being corrupted. A radio station is hijacked, a young couple walks past a polluting gas station. The culmination of evil itself emerges from the heart of the explosion, as presented by series antagonist Bob. Lynch locks into the primal fears of humanity; what comes out of the darkness, by reframing the contextual buildings and infrastructure of society. Existing in the shadow of an abomination, losing their homely connotation, and becoming unheimlich. No longer representing the iconic Americana of the suburban sprawl, but the decline of an age of optimism. 32 33

Lynch, D. & Rodley, C. 1999. p. 135 Luckhurst, R. 2017. p. 22

Fig 2.4.3. Andy Brennan’s premonitions in the Fireman’s Fortress In Twin Peaks: The Return.

The Lynchian aesthetic of architecture is achieved through his distinct cinematic language, including stroboscopic lights, double exposure and intense hyperactive camera movements and cuts. Lynch creates ‘spatial impossibility…[with] ultraclose-ups creating a kind of perceptual disorientation… but constituting a physical sense of the tactility of surfaces… the camera then usually tracks back, revealing an identifiable mise-en-scene, and creating a cinematic space.’34 This technique destabilises the voyeuristic relationship between audience and film. Relying on the textural composition of architecture, and the recognition of detailing and materiality.

Sheen, E, et al. 2004. p. 154

3.0

meThod

3.0 Method

Fig 3.1. Preliminary Test Group Behavioural Changes in Response to Lynch’s Uncanny Architecture.

An uncanny design explores hidden and unusual ideas. Breaking conventions and established boundaries, and becoming strange. Strangeness can be an unwanted or oppressive aspect. Its inherent foreignness results in an aggressive rejection from the established. With modernism, architecture and art has become the testing ground for the mass exposure of the strange. Partly ‘from going abroad, and because of the faster changes in the social, cultural and technological spheres… [the] disturbing otherness is sometimes enjoyed, often feared, or simply accepted.’35 There is a broad spectrum on which strangeness exists, from the abnormal to the sublime. It can induce separation from reality, and evoke a complete sense of alienation.

This study examines the psychological impact of the uncanny architecture in David Lynch’s “Twin Peaks: The Return”. Uncovering how the Lynchian dialect, specifically the representation of buildings, has become stylistically cemented in the arts and film. As the narrative of “The Return” is synonymous with Americana, a series of case studies on recurrent building typologies are the subject of analysis. Identifying the extent of architectures contribution towards Lynch’s uncanny style, and its effect on characters and audiences. This includes; the gas station, the hotel and the stage.

Grabes H. 2008. p. 6

Fig 3.2. Lynch directs Justin Theroux as director Adam Kesher in Mulholland Drive.

‘We have come to expect the strangeness of avant-garde art… what seems truly strange is the distinction between the familiar and that which is just off enough to raise suspicion.’36 Lynch has championed “strange-making” in cinema, but is notoriously aloof when questioned about its meaning. This avoids discrediting any viewers interpretations, and ties into the dream logic of conveying the repressed, to potentially unlock responses the viewer would otherwise not feel.

Following secondary research, findings have been verified through interviews with two field experts. Dr Anna Katharina Schaffner, a university reader in comparative literature with published works on Lynch, and Dr Helen Griffies, a consultant clinical & forensic psychologist within the NHS. Following these interviews – a series of screen tests have been conducted on both initiated37 and uninitiated parties of architecture and film students and professionals. Consisting of scene compilations from Lynch’s catalogue of work, to establish a sense of the uncanny, and then from “The Return”, presenting the typologies to be assessed. Their responses recorded, and uniformly catalogued. Participants were then questioned after each scene, using a positive and negative effect schedule, gaining an instinctual response. Both groups have been compared, and the experts consulted on the findings.

36 37

Ibid. p. 8 Individuals who are familiar with and seek out David Lynch’s work.

Fig 3.3. Positive and Negative Response to the Diner Creature Manifestation scene In Mulholland Drive.

Derived from Carney Landis’ 1924 study of emotional reactions; a body language and facial deformation criteria highlights specific responses to depictions of uncanny architecture. The assessment of each participant has been verified by an unbiased secondary party. Testing both the initiated and uninitiated, negated the bias of a pre-disposition, and provided an explicit point of comparison, to give greater credibility to the implications of an uncanny architecture.

Anthony Vidler’s approach to exploring uncanny architecture has been consulted in formulating conclusions. ‘Investigating prevalent aspects through notions of the uncanny as they have developed in literature, philosophy, and psychology… to interpret the unsettling qualities of [Lynch’s] architecture… its fragmented forms, its seeing walls replicating the passive gaze, its historical monuments indistinguishable from glossy reproductions.’38 Within the retro-modernity presented by Lynch’s return to Twin Peaks, this study questions the social estrangement and defamiliarisation induced by the uncanny representation of the selected architectural typologies.

Vidler, A. 1992. p. 15

4.0

case sTUdies

4.1

The Gas Station

Fig 4.1.1. The Woodsman Congregate at the Gas Station, located off of a wooded Road in Twin Peaks.

In the United States, the gas station spatially represents the everyday. Conventionally housed in a singular structure, with a canopy sheltering fuel pumps. The modest form externalises ideals of functionality, efficiency, as well as fortification. Although they are sometimes isolated and open to any road weary motorist. Hidden beneath the surface, out of sight, are storage tanks filled with gasoline, the volatile substance that the facility occupiers attend to or seek. An experience entrenched into daily routine, as to become an unconscious act. The typology represents the awareness of an unseen influence. Scholar Dylan Trigg suggests there is a more intrinsic relationship between the bodies of the human and vehicle, providing a pivotal frame of observation in using a gas station: ‘The self becomes embodied in the car and disembodied from the surrounding architecture… this detached attention, played out through the border of the windshield, marks a heightened involvement with the world.’39 The passive act of refuelling, facilitates a reprieve, for greater perceptions. This considers the typology a “quasi-nonplace”, a point that facilities a journey from two “places”, representing the urban need ‘of accessibility over proximity’.40 In a Lynchian construct, the gas station is functionally elevated, presenting its historical significance and a sense of transit between places – but also states of mind.

39 40

Trigg, D. 2012. p. 137 Unlu, O. 2017. p. 1

Fig 4.1.2. Phases of Inhabitation, The Elevation of a Relic.

The gas station is a gateway which ‘Lynch uses to split his characters… visited only at times of need… to disassociate the body from the cocoon of observation it provided… the station itself visually and spatially provides the comfort of familiarity whilst instilling an inherent creepiness of something begrudgingly relied upon.’41 The abundant presence of gas stations in the real world suggests its designation as site-less architecture, situated in response to demand. It is this omnipresent quality that is reframed and perceived as ethereal or uncanny.

Like adolescent to parent, the motorist is reliant on the gas station for sustenance and support, their activities intermittently monitored at regular checkpoints. Its presence is both familiar and comforting. However, the abstract nature of the architecture, presents the opportunity for escape, transcending and overcoming the conventions imposed from within the urban fabric. Through the woods, amongst the trees, is where Lynch’s gas station resides – expressing the boundaries between cities, organic and man-made matter and between realities. In the return to Twin Peaks, the gas station or “convenience store”, is generic in form. A single storey timber rustic building of modest size. With horizontally orientated timber cladding, a chamfered fuel pump canopy and a weathered steel external stair leading to the roof space. The building is a remnant of 1940’s America, ‘a time marked by new highways and cars, a spirit of growth and a belief that the impossible could become a reality…most have fallen victim to age, but hold the story of a bygone era, of changing times and communities.’42 The aesthetic and character of the typology is evocative, of new travel opportunities, a growth in industry, and an era of automobile abundance and dependence in America.43 As well as referring to these historical milestones, the heightened abstraction of Twin Peak’s gas station bestows narrative prominence as a place of supernatural enlightenment. As well as embodying the growth of spirt associated with the typology, it introduces foreign sensual perceptions to ultimately engage with worlds that are otherwise unintelligible. 41 42 43

Consbruck, R. 2010. p. 45 Kirk, J. 2015. p. 150 Jakle, J. & Sculle, K. 2002. p. 18

Fig 4.1.3 Ascending the Gas Station Stair To The Place Above.

Revisited on multiple occasions, under drastically different circumstances, the convenience store is externally anonymous, and found by the road side of a forest trail. Whilst falling into dereliction, and losing the function that warrants its existence. It seems to appear and disappear in an erratic manner, both physically and within the narrative. Rather than leading to the roof, the side stair transports those who ascend it to an interior space, detached from its external form, and described only as being the place above. It is presented as a series of enclosed forums further in the dark woods. Access is only granted by attendees. As an architectural composition, these two distinct perceptions of the same space, reflect the inherent duality of material and immaterial relationships and the idea of urban estrangement.

Sociologist Georg Simmel, writes about this in relation to mass migration at the beginning of the 19th century, describing space ‘as the expression of social conditions’44 and recognising the implications of distance and proximity. He describes “empty space” created by unreciprocated social interaction, as defining territories, ‘like a network of imaginary lines, articulating the activity of society as a frame isolates a picture from its background.’45 By estranging internal space from external form, the expectations of arrival from entrance are destabilized as well as the associated social conditions of interaction. The perplexing nature of arriving in the new askew, raises questions, as overlapping but recognisable architectural conventions are intriguing, rather than alienating.

Ironically Lynch’s gas station gains the character of “place”, by becoming functionally redundant. Gaining greater purpose as an interdimensional doorway. Although temporal in appearance and exclusive in access, through projecting alternative interiority, the uncanny is conveyed through the disorder of overlapping. Anthony Vidler discusses this symptomatic disturbance of space, which ‘preoccupied architects to the extent that space-time becomes a dominant motif of modernism… the visual experiments of Eadweard Muybridge, were exploited in the overlapping and multiple exposures of futurism and cubism… in Marcel Duchamp’s Nude Descending a Staircase.’46 Influencing Lynch’s editing, through warping the connection between seemingly separate spaces. As a manipulation of the relationship between time and space, a vocabulary consisting of the means to fracture and displace, ‘torquing and twisting, pressure and release, void and block, inform and hyper-form’47 is deployed. Encouraging the critique of the seemingly unchanging conditions of everyday activities and its facilitating architecture. This represents the spatial perceptions of a modern identity, as an alerting depiction of the dependence of familiar space to contemporary living.

44 45 46 47

Simmel, G. & Levine, D. 2015. p. 52 Consbruck, R. 2010. p. 19 AA School of Architecture. 2015 Vidler, A. 2002. p. 5

Fig 4.1.4 Negative Responses to the Gas Station In Twin Peaks: The Return.

During primary tests, there was a greater negative response on average, with the strongest emotions indicating agitation; from irritation, distress and hostility.48 A consistent response occurred during the interactions between relatable human characters and “the place above”. As well as presenting a detachment of space, diegetic sound49 is decontextualized. Through static pulses, distorted radio chatter, as well as what seems to be the ambient hum of crickets in a field. This separation of senses is unnerving, ‘the mind demands the re-stitching of isolated elements… having one sense ripped from its dependence on the body, generates anxiety matched by a desire to counter the imbalance.’50 The misappropriation of audio is disorientating, even with the subtlest alteration of an expected spatial condition. Lynch explores the potential elucidation that comes from alternative interactions with sonic environments, in some cases propelling sound out into the spectrum of the inaudible.

The filmic technique of stroboscopic cutting, where frames rapidly alternate, is used as an almost unpalatable voyeuristic view of the front façade, shifting into and out of focus and presenting various states of habitation. The explosive nature of this technique, reflects the rapid growth of car dominance in post-war America, through a mutation of the associated architecture of the era. Inversely, the abrupt nature of the strobing, reflects a ‘collective paralysis or motorised stasis… surrendering the individual’s agency.’51 Like the static composition of the woodsman in this sequence, control of design and use has been forfeited by necessity. The neon signage and utilitarian gas pumps, reflect an architecture of bold, clear communication rather than one of subtlety. Although perhaps Lynch‘s vision is not one of the medicated fuel hungry commuter, but one that ‘embodies fresh representational techniques free from the strangulations of modernism.’52 48 49 50 51 52

Nemanick, R. & Munz, D. 1994 Sound within the context of the film, as opposed to being outside the story-space, such as narration. Jordan, R. 2003. p. 12 Martin, R. 2014. p. 109 Ibid. p. 110

Fig 4.1.5. The Shifting Realities of the Gas Station in Twin Peaks: The Return.

In response to these scenes, facial deformations indicated high levels of anxiety. Predominant rapid eye movement – including averting attention, intense blinking, adjusting position and proximity, and furrowing eyebrows.53 Anxiety is due to the threat of the ambiguous. Exemplified in a scenario where ‘you can smell smoke but aren’t sure where it is coming from… creating a plausible looming danger.’54 Lynch uses the collective anxieties of dream logic to elicit such a response. Embracing humanities instinctual self-awareness, aspirations and primitive fears. Governing more abstract experiences and realities than is possible when fully conscious. Carl Jung highlighted the binary conflicts of opposition in dreams ‘as symptomatic of failed psychological integration…while dreams of union symbolise growth, healing and the emergence of wholeness.’55 The conflict reflected in the gas stations general dilapidation, and integration of disconnected space, elicits feelings of anxiety. What lurks in the confines of a smoked filled convenience store, is not as expected, and the dread of progressing through such turbulent spaces results in a sense of enlightenment, establishing new truths in existing grounds.

53 54 55

Landis, C. 1924. p. 465 Perkins, A. et al. 2012. p. 12 Hayes, M. 2013. p. 73

4.2

The Hotel

Fig 4.2.1. The FBI Meet In the Privacy of a City Hotel Suite To Discuss the Blue Rose Task Force.

A prominent filmic setting, the social exclusivity of the lobby is a site of ‘bohemian misery, crime and murder, and a hiding place for illicit liaisons.’56 With contrasting public interactions, and the anonymous nature of discrete meetings, this conflicting function reflects the anarchic social development of the urban metropolis. Lynch’s hotel draws from these conventions, heightening the conflict between secrecy and exhibitionism, creating distinguished and affecting portrayals of the establishment. A spectrum of hotel types has emerged with modernity; however, Lynch primarily concerns his work with independent, rural, family run hotels such as Twin Peaks’ “The Great Northern”, and the city based chain or business hotel. Both with varying, responsive characterful qualities. The lobby becomes a focal point, maintaining a ‘faded glamour – reflecting Art Deco styles… where decorative touches compensate for industrial rawness… with thickly varnished timber frames, distinctive floor patterns and a Gothic tinge.’57 Perhaps this is a nostalgic romanticism of a bygone era, or maybe a lamentation of extravagant but meaningless adornments, directly opposing the functionality of industrialism. There is also a third type, that aligns its function more with the speculative concept of limbo. Although it dissects conventions, the “Black Lodge” is very much a hotel, with the “Red Room” its lobby. Cast into mythology, and governed by its inhabitants, architecturally it presents spatial tension, unusual juxtapositions, and uncertain borders, between external and internal thresholds.58

56 57 58

Avermaete, T. & Massey, A. 2013. p. 20 Martin, R. 2014. p. 69 Ibid. p. 132

Fig 4.2.2. Agent dale cooper’s Doppelgänger liaises with an associate in A Rural Motel.

Although a hotel is sited specifically, usually in relation to cultural hubs and city centres, the temporality of its occupation, be it for corporate affairs or leisure, permits a freedom in inhabiting the space with abstract or governed functions. Lynch has developed this architectural duality throughout his filmic work, perhaps most explicitly in Lost Highway, where the ‘symbolic importance of the “Lost Highway Hotel” embodies the films overriding philosophical concern by serving as the meeting place for the story’s “lost” characters, all of whom have acquired two identities.’59 This psychological splitting or abstraction of character is enabled through the typologies tension and symmetry with its context. As a microcosm of the city social structure, allowing a reflection to exist, enables a kind of self-deception. Lynch is expressing ‘post-modern concerns with identity, location, and subjectivity.’60 The hotel room itself is a familiar composition of space, with mimetic homely qualities. But through lacking permanence, and the resulting unhomely nature of temporary occupation, the hotel becomes uncanny. It is the subjectivity of its inhabitants as well as the voyeuristic onlookers, that projects a quality of either unsavouriness or comfort. However, the space is personified with anonymity, which builds from the social atmosphere of the lobby bar further to the seclusion of private rooms. The hotel becomes a place to escape reality, escape identity, which would otherwise be impossible without the endowment of the anonymous.

59 60

Devlin, W. & Biderman, S. 2011. p. 108 Clarke, D. et al. 2009. p. 277

In contrast to the functional, industrial structures that comprise much of Twin Peaks’ architecture, hotels are adorned with ornament and artifice. From extravagantly decorated floral wall trims and ceiling covings, to select sculptures and geometric flooring.

Accessed from the wooded areas surrounding Twin Peaks, the Black Lodge is home to ‘dark forces and viscous secrets’61 and physically comprised of a series of narrow corridors with luring chevron floors and lobbies separated by a continuous run of undulating red curtain; stretching from ceiling to floor. The main lobby or “Red Room” has sparse but evocative decoration, with three arm chairs, two floor lamps, a table and a statue of Venus de Medici. Lynch consciously harnesses the psychological impact of décor and ornament in spatial design, in order to ‘repeatedly manipulate an audience’s desire to attach metaphorical value to banal items, so that everyday objects — a lampshade, an ashtray — radiates meaning.’ 62 The meticulous layout and lighting, and precise selection of what has become iconography is heightened by Lynchian conventions - with intense close-ups and rigid tracking shots. This sense of logic through formal principles drives the observer to seek meaning, as an instinctual practice. Reinforced by clear direction and sometimes limiting filmic representation, giving Lynch’s hotel a palpable strangeness. There is an ominous need to read the space and objects that define it metaphorically, by searching the subconscious.

As the interstice between the room, corridors and the exposure of the streetscape, the lobby provides a reprieve, with an atmosphere defined by its unique ‘layout, style, colour, lighting and furnishings’63 there are social pressures on guests to not just wait for re-direction, but insight, engage with or spectate activity. This inherent expectation is reflected as a reoccurring motif of the anticipation and consequences of enacting change. The lobby becomes elevated from a superficial social forum, to a venue of realising power. This architecturally materialises Friedrich Nietzsche’s ‘external struggle of wills and assertions, he calls the will to power… this is not a process of representation… but a process in which human thought coins its forms in existence.’64 By externalising this thought, or adjudication of ideas, Lynch highlights humanities persistent obsession with power. Inflicting the psychological experience of megalomania or feelings of subservience. Inversely, the hotel maybe a venue of self-assessment, ‘breaking into one’s consciousness, through the collective conscious’65 through disagreement, existential disorientation, and re-alignment.

61 62 63 64 65

Lynch, D. Twin Peaks. 2012 Martin, R. 2014. p. 77 Countryman, C. and Jang, S. 2006. p. 539 Devlin, W. & Biderman, S. 2011. p. 160 Ibid. p. 165

Fig 4.2.3. Cooper is Pursued By His Doppelgänger Through the Labyrinthine Lobbies of the Black Lodge.

Although there may be a power struggle amongst the socialites of the lobby, ultimately the governing hand of the hotel management and operators retain control. This is illustrated simply through their familiarity with the layout and components of the space, dictating passage through a maze of corridors and lifts. The struggle ‘to navigate the hotel in Lynch’s work is emblematic of the struggle to locate the self in postmodernity…where self is not seen as reflection, but via proximity.’66 Lynch represents this prominently within the Red Room through the confusing distortion of speech and movement. By manipulating perceptions of sense, the supremacy of the creator is demonstrated. The dominance of the lodges inhabits over the protagonists that enter, is mirrored by the power of Lynch’s uncanny representations and the questions provoked from his audience.

Clarke, D. et al. 2009. p.278

The predominant emotional response to this typology was positive, with high responses of interest and excitement indicating intrigue.67 This is instigated by the dislocation of place, with the Black Lodge’s access threshold described as being situated ‘in a point in time, rather than in a point in time and space’68 as any conventional door. The juxtaposition of its ambiguous external context with the specificity of the internal arrangement of its décor and furnishings, confuses the subconscious’ desire to determine intuitive spatial readings. This sense of disassociation is formed through specific operations including; ‘doubling, excavation, masking, dissolving and projection’69 all resulting in the contortion of space. Through the subtle disassociation of hotel conventions, an observer’s memories and perceptions are dissected and expropriated in the creation of an uncanny architecture. However, this sense of appropriation was also in response to negative indicators such as; nervousness and irritation - by being fooled by the duplicity of place. Lynch translates the sinister motive of doppelgangers70 into his architecture. The Black Lodge is mirrored by the “White Lodge”, identical in form and structure, but a place of ‘great goodness’71 in stark contrast to its abhorrent reflection. Although separately identifiable there is an unbreakable tension between the two, epitomised by the potential for one to masquerade as the other, creating a sense of unease.

Facial deformations corroborate this state of confused frustration, through lip pursing or compression, articulation of the corrugator muscles at the base of the nose and beneath the eyebrows, and general expressiveness.72 This was most prominent during the sequences within the Red Room, as Lynch dramatically manipulates sound and motion – playing with time through methodically reversing and correcting the performances and camera movements. Stemming from Lynch’s fascination with organic phenomena and a desire to ‘reimagine the human body as a fertile system of cells merged with vegetation…expanding and growing into a new species, manipulated by growth and decay to generate unexpected colours, textures and forms.’73 This desire is fulfilled with cinematic representations of the union of people and place. With the pulsing movement of characters, so does the partitioning drapes flutter. Both the lodge and its inhabitants coexist as a singular sentient life-form through the palpitating ambiance of unified sound.

67 68 69 70 71 72 73

Nemanick, R. & Munz, D. 1994 Lynch, D. Twin Peaks. 2012 Consbruck, R. 2010. p. 28 Lynch, D. Twin Peaks. 2012 The supposed ghostly double or wraith of a living person. (Collins English Dictionary. 2016). Landis, C. 1924. p. 465 Cozzolino, R. and Rockwell, A. 2015. p. 26

Fig 4.2.4. After 25 Years Agent Dale Cooper Escapes The Black Lodge.

4.3

The Stage

Fig 4.3.1. The Roadhouse’s Stage Subtly Reflects the decor of the pivotal Red Room.

Lynch values performance venues. From grandiose royal theatres and cinemas, to modest jazz clubs and biker bars. Prominently shaping such spaces, to unveil key narrative shifts and character development. The history of the last century can be recalled by its stages – platforms for the projection of social and political commentary, in the aspiration of change. Be it Blue Velvets’ “Slow Club” or “Paramount Studios” in Mullholland Drive, ‘these arenas are built and filmed in anticipation — a transformation, a confrontation or a revelation…occupying a privileged position in [Lynch’s] architecture, often existing within a central chamber at the heart of the film.’74 The elevated nature of a stage is reflected in its narrative significance. Defined by bold reverberations of colour, light and sound, the stage has become a reoccurring setting in Lynch’s work, provoking a diverse range of associations and dramatic overwhelming affects. From ‘[Francis] Bacon’s fraught frames to the rise of installation art… from the crooked rooms of German Expressionism to the eerie zone of Tarkovsky’s Stalker… meticulous stages have been formed for immersive, scripted performance.’75 This expressionist influence is explicit in framing the stage as a place of anxieties. From enclosing claustrophobia to agoraphobic openness. Lynch manipulates the traditional sense of the stage, whilst retaining the familiarities of character – from a thriving, modern social venue or ghostly ominous projection theatre, recollecting Hollywood’s golden age of cinema.

74 75

Martin, R. 2014. p. 135 Ibid. p. 77

Fig 4.3.2. Señorita Dido Witnesses the transcendence of the Fortress Theatre.

Built from traditional cinematic features, Lynch establishes a clear familiarity with his stages to allow a dynamic relationship between the audience and performance to manifest. Within the narrative, as well as the shows audience. These architectural conventions include thick saturated curtains and stucco, intensely contrasting light, and points of captivity from booths to balustrades, representing the influence of the observed over the observers. Creating a sense of spectacle that is built on the association the typology has with the promise of providing new and unusual experiences. The Lynchian influence on this ensures ‘the audience shares the characters doubts and urges provoked by the spectacle of performance… we cannot content ourselves with remaining spectators... sooner or later we have to go up there.’76 Although this desire is rendered inert, with the conditioning of engaged audiences. Lynch inverts this relationship by setting his stage as a pivot point in the context of their towns and narrative, as a ‘Hetrotopia… a counter-site, outside all places, even though they can be located in reality.’77 This allows the stage to house seemingly incompatible sites whilst nurturing the contradicting senses of its inhabitants. Where a cinema projects an articulated, dimensionally conceivable perception of space on a flat screen, and a singular theatre stage presents a succession of uniquely different places. Lynch exploits this by exposing reality for what it is, and the self-delusions that an audience may have. Illuminating real world encounters through the attention that a theatre space commands from its audience.

76 77

Chion, M. 1997. p. 183 Foucault, M. and Miskowiec, J. 1986. p. 87

Fig 4.3.3. the Fireman Levitates reflecting the Deautomatisation of Perceptions.

The illusionary nature of such establishment is perhaps compensating for the lack of clarity in the real world – and in doing so creating a seemingly fictitious spatial experience. Lynch is questioning boundaries; ‘between the screen and the audience, and between communal experience and individual subjectivity.’78 Inciting the suspension of disbelief, the separation of focal point and performance, as stage and seating inhibits the psychological journey of immersion. As the performance begins so does the architecture become the catalyst for blurring this boundary. This is perhaps most evident in the return to Twin Peaks, when a cinema theatre inhabited by a character known as “The Fireman”, observes past discretions of the outside world. During this sequence, the character pensively approaches the screen. Once he fully engages with its content, Lynch abstracts this relationship, by having him physically float parallel to the screen, surrounded by a golden ember. The journey from doubt to immersion reflects the ‘deautomatisation of perceptions…forcing the viewer to engage with an alternate reality, using the cinematic narrative as a device to act as the subconscious bridge to recognisable perceptions.79 Lynch’s audience inherits the doubts and urges of his characters through this bridging effect, allowing them to genuinely engage with the spectacle without the prejudice of external preconceptions. The delineation of the cinema theatre layout embodies this journey – progressing from the interstice of the ticket office with existing notions, through contemplative corridors and up stairs, to the restraining seats within the auditorium, ready for perceptions to be defamiliarised.

78 79

Martin, R. 2014. p. 136 Basharat, N. 2007. p. 24

Fig 4.3.4 Demystification of Place as the French National Library, and person as Audrey’s call to the stage.

Crossing the threshold, through the facade of the screen or from the crowd to the stage, has been implemented by Lynch in testing spatial interaction and the implications of anxiety. Stripped of anonymity and placed under the spotlight, the interrogation of the stage reflects the concept of liquid architecture. Where acoustic, visual and atmospheric conditions react to the movement of bodies in interior spaces – on the stage – alternatively to external environments – seated amongst the crowd.80 These familiar spaces become defamiliarised when interacted with in unaccustomed ways. This sense of uncanniness has been interpreted by the architects OMA, with their proposal for the French National Library; exploring this tension through visually projecting interiority out onto the external facade. Reflecting the anticipation of an audience facing drawn curtains, ‘the skin can conceal and reveal internal spaces, and the performance of activity.’81 Rather than reflecting context, the projection of internal conditions demystifies paranoiac space. Although unveiling the skeleton beneath the skin can be horrifically elucidating, and provoke instinctual resistance. This relates to the distortion of perceptions by the collective unconscious, where the presentation of fragmented elements, such as internal and external space are unnerving and intrusive.82 An experiment testing the development of instincts, “The Visual Cliff”, examined crawling infant’s perceptions of height. Situating the participant in a vessel elevated forty inches from the ground, one half of the floor of the vessel being opaque, the other transparent. Then recording the infant’s willingness to move to the transparent side by their own accord and with parental encouragement. The results illustrated the instinctual perception of material affordance.83 Most participants did not move to the transparent side without encouragement, ‘as the surface visually informed an area to be avoided.’84 Lynch challenges these identified perceptions by posing spatial dilemmas such as transparent boundaries, in an effort to unrestraint audiences from the assurances of convention.

80 81 82 83 84

Carpo, M. 2013 Consbruck, R. 2010. p. 27 Nochimson, M. 2013. p. 55 A material property that allows an action. Gibson, E. 2003. p. 42

Fig 4.3.5. The Subsuming and exposure of Audrey in the Bang Bang Bar In Twin Peaks: The Return.

When presenting the stages of Twin Peaks, responses were significantly positive to the contrasting realities of the fireman’s auditorium and Audrey Horne’s dance at the Roadhouse. Results indicated general enthusiasm, inspiration and a sense of strength. Relating to illusionary qualities of the stage, providing a freedom of engagement with abstract ideas, due to the inherent fictitious function of the space. Relating to the blurring of spatial relationships, as Lynch describes instinctually ‘changing the emphasis, never locking into an idea… to have strong emotional impact and dredge up experiences in the viewer, although their facts may be different, the intuitive knowledge is similar.’85 It’s this recognition of intuitivism that allows the transparency of the space to be designed to break these pre-conceptions. In Twin Peaks, Audrey may begin as a club patron, but is subsumed into the performance space of the dance floor – and eventually exhumes a parallel space consisting of clinically white walls and a single mirror. These blurred thresholds and the redistribution of conventions are perhaps perceived as inelegant, but the nature of their sequence creates a spectatorship that allows both the inhabitants of each space and the observers of the union of space to conceive their own meaning. However, the key covariate of being familiar with Twin Peaks, revealed a higher level of irritation by uninitiated participants. Their frustrations with the conscious removal of context and exposition. Indicating a resistance to the breakdown of conventions, rejecting what is perceived as manipulation by Lynch.

Barney, R. 2009. p. 7

Fig 4.3.6 Facial Deformations Before, During and After Audrey’s Exposure.

Facial deformations indicated a sense of enthusiasm and engagement. Although not initially pleasant, the sensation of shock when witnessing Audrey’s entrapment is followed by the expressions of inquisition. Indicated by a stable wide-eyed gaze and subtle exclamatory head shifts. Following the end of the sequence the face immediately returns to a neutral state of introspection.86 Although the audience is confused at the disruption of architectural and narrative conventions, their familiarity with form and interpretation of motive allows the derivation of meaning. Concluding with an examination of their interpretation, subjectively referencing personal experience. This highlights the division between social and emotional responses, ‘defined by the nature of the situation calling out the emotion and in the degree of general disturbance rather than in any specific differences in bodily or subjective reactions.’87 What starts as a general social examination of space develops into an emotional assessment. Lynch is establishing the validity of subjectivity – through the disruption of accepted and expected conventions.

86 87

Landis, C. 1924. p. 465 Ibid. p. 498

5.0

concLUsions

5.1 Contrasts & Comparisons

Fig 5.1.1 The Typologies of Twin Peaks: The Return.

Through defamiliarising key architectural conventions, Lynch has cultivated a design language of the uncanny. Distorting and revealing thresholds; between site & context, externality and interiority and approach & access. Reflecting on the historical gravitas of typologies through manipulating materiality; colour & transparency, texture and articulation. The restraint and abstraction of spatial partitioning; devolving social relationships, power struggles and emotional engagement. As well as the composition of acoustics, natural and artificial lighting; to create illuminatingly sonic environments. The implementation of ‘the uncanny is characterised by attempts to destabilise the conventions of traditional architecture… referencing estrangement, linguistic indeterminacy, and representations that have served as vehicles for avant-garde architectural experiment.’88 Lynch’s explorations into an ‘other architecture’,89 disrupts the established score of buildings deemed significant, and presents an alternative understanding of the history of modern architecture.

Consistently observed across each typology, demonstrating a continuity of affects and psychological responses. The most dominant being abstraction, both literally separating two architectural components, to subvert expectations of context, as well as figurative abstractions of function. This is a method of reduction, removing preconceptions or expectations, without losing content. Simplifying the parameters of space, to engage those who may be overwhelmed or attached to ideologies of a familiar architecture. Vidler writes on the effects of abstraction; ‘architectural commodification, is neutralised, re-appropriated, and attenuated and animated at a higher level.’90 By removing the value of an established construct, whilst retaining form – sometimes through subtle abstractions – the significance of conventions is questioned – and the rigidity of function and atmosphere is opened to interpretation.

88 89 90

Vidler, A. 1992. p.29 Ibid. 1992 Vidler, A. 2008. p.178

This cultivation of ambiguity can result in a paranoiac, anxious architecture. As the subconscious draws from daily experiences and environments; ‘sensing architecture is deeply embedded in body memories… shaping our identity, instructing our constructs.’91 The reflective qualities of the built domain can inform self-delusions. Relating to the “Paranoid Critical Method” devised by Salvador Dali in 1929, where ‘chance decisions are pursued to the limits of logic’,92 Rem Koolhaas was driven by this surrealist rationality in the presentation of modernisms alternative history. Like Lynch, whose uncanny architecture is perceived as unnerving, inflicting a sense of disassociation on the individual subconscious. To become ambiguous is to lose character, be inherently homogenous and therefore lack the value to incite investigation. Paradoxically, to be ambiguous is a recognised architectural identity.

The reconfiguration of social, emotional and political relationships, is also recurrent. Relating to warped spatial boundaries and their governance – there is a distinct voyeuristic quality to the architecture, creating a spectacle of the power struggle in spatially contained relationships. Explored with ‘projection and introjection… inventing and the paradigm of representation… nourishing a culture of interpretation.’93 By both warping the connections of space and referencing psychological warping’s within character development, the audience respond with fears or wonder that arises out of the fluid forms and dissolving borders.

The theme of the demise of innocent dreams and small-town traditions is also recurrent. Lynch maintains an affinity for rural landscapes, the purity of industrial constructs, and insular communities. It is perhaps the most dominant narrative and architectural theme throughout his work, and is manipulated and defamiliarised, to instil a renewed interest in a concern that is arguably lost to modern affairs. The intense ambience of an abandoned farm building, and the subtle framing of a convenience store references the demise of modest rural town architecture. As ‘the buildings have become too small to accommodate services necessary for competition within modern civil life.’94 In comparison to this loss, the corporate nature of oppressive architecture dominating cities is introduced in “The Return”. Depicted in opposition to the small town, vilifying the high-rise structure as a shallow concrete shell housing derivative glass boxes, depicted predominantly at night. Lynch reveals ‘the deceptive nature of this architecture, housing intrinsic networks of corporate gangsters.’95 Although he does not completely oppose city blisses, as an inhabitant, Lynch presents a thematic caution against the centreless repetition of the modern urban grid. In appreciation for the historically characterful distinctions and architectural anomalies within the rural sprawl.

91 92 93 94 95

La Marche, J. 2003. p.109 Hill, J. 2003. p.35 Vidler, A. 2002. p.54 Jakle, J. & Sculle, K. 2002. p.125 Martin, R. 2014. p.57

Fig 5.1.2.

The Paranoiac Interstice Between Reality and The Black Lodge.

Fig 5.2. Ascension From The Firemanâ&#x20AC;&#x2122;s Theatre in Twin Peaks: The Return.

5.2 Overall Conclusion

Architect and theorist Rem Koolhaas writes ‘the most important thing about architecture is arriving in new worlds, rather than returning to old ones.’96 Whether they feature factories or freeways, the worlds built and filmed by Lynch are undeniably new. Both architecture and space radiates presence, through utilising Lynchian filmic techniques with invariably spatial functions. The elevation of industrial and historically provocative typologies has been a prominent aesthetic throughout Lynch’s filmography. Uprooting the romanticised memories of a post-war America and the collective subconscious anxieties of future consequence.

Lynch intensifies the prominence of the hotel, providing a forum for asserting dominant resolutions. Although hotels aspire to be the homely respites between new travels and experiences in strange or familiar places. There is an unhomely connotation of over-adornments, be it elitist functions for squalid conclaves or secret societies. The physical stage in Twin Peaks challenges the efficiency of modern media consumption. Elevating its function to preserve its historical significance as a communal experience, and the associated subliminal social anxieties. Whilst the liminal conditions that have always existed in such venues elicit strong emotional responses through unique interpretations of visual culture and abstracted conventions. Lynch exhibits the passivity of voyeurism in each of the studied typologies through ‘extreme and overt exhibitionism, unveiling what is observed and by who.’97 Perhaps as a reference to the inherently voyeuristic cinematic structure of his influences98, or maybe a legitimisation of analysing spectatorship to identify the audiences own repressed fascinations.

Although David Lynch is not an architect, he challenges preconceptions of the built environment and the modern functions of space. Encouraging the reassessment and recreation of the familiar forms that occur in everyday life. Confronting the peculiarities of the urban, suburban and rural landscapes. The phenomena of spectatorship and the appropriation of past spaces in present times, truly represents the Lynchian architecture of the uncanny.

96 97 98

Graafland, A. & De Haan, J. 1996. p. 229 Ibid. 2015. p. 25 Stevens, H. 2004

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Books Alexander, J. (1993). The Films of David Lynch. London: Charles Letts. Avermaete, T. and Massey, A. (2013). Hotel Lobbies and Lounges. 1st ed. Abingdon: Routledge, p.20. Rossi, A. (1982). The Architecture of the City. Cambridge: MIT Press. Andrew, D. (1984). Concepts in Film Theory. Oxford: Oxford University Press. Altman, M. and Schuster, H. (1990). Twin Peaks Behind-The-Scenes. Las Vegas, NV: Pioneer Books. Barney, R. (2009). David Lynch. Jackson, Miss.: University Press of Mississippi. Bollas, C. (1992). On Being a Character: Psychoanalysis & Self Experience. New York: Hill & Wang. Casetti, F., Andrew, N., O’Brien, C., Andrew, D. and Metz, C. (1998). Inside the Gaze. Bloomington, Ind.: Indiana University Press. Carpo, M. (2013). Digital Turn in Architecture 1992-2012. Somerset: Wiley. Chion, M. (1997). David Lynch. 1st ed. London: British Film Inst. Clarke, D., Pfannhauser, V. and Doel, M. (2009). Moving Pictures, Stopping Places. Lanham, Md: Lexington Books. Collins English Dictionary. (2016). 6th Edn. London: HarperCollins Cozzolino, R. and Rockwell, A. (2015). David Lynch: The Unified Field. Philadelphia: Pennsylvania Academy of the Fine Arts. Curran, J. and Gurevitch, M. (1991). Mass Media and Society. London: E. Arnold. Devlin, W. and Biderman, S. (2011). The Philosophy of David Lynch. Lexington, Ky: University Press of Kentucky. Doane, M. (1998). Film and the Masquerade: Theorising the Female Spectator. London: Evans. D’haen, T. and Bertens, H. (1995). Narrative Turns and Minor Genres in Postmodernism. Amsterdam: Rodopi. Eckhard, P. (2014). Chronotopes of the Uncanny: Time and Space in Postmodern New York Novels. Bielefeld: Transcript Verlag. Ellis, J. (1992). Visible Fictions. New York: Routledge.

Fiske, J. (1990). Reading the Popular. New York: Routledge. Ford, L R. (2003). America’s New Downtowns Revitalization or Reinvention? Baltimore: John Hopkins University Press. Frampton, K. (2010). Modern Architecture a Critical History. 3rd ed. London: Thames & Hudson. Freud, S. (2003). The Uncanny. London: Penguin UK. Gibson, E. (2003). An Ecological Approach to Perceptual Learning and Development. New York: Oxford University Press. Grabes, Herbert. (2008). Making Strange: Beauty, Sublimity, and the (Post)Modern ‘Third Aesthetic’. Amsterdam: Rodopi. Hayes, M. (2013). Fan phenomena: Twin Peaks. Bristol: Intellect Books. Hill, J. (2003). Actions of Architecture: Architects and Creative Users. London: Routledge. Hoffman, E. and Grace, D. (2017). Approaching Twin Peaks. Jefferson, North Carolina: McFarland & Company, Inc., Publishers. Jacobs, S. (2007). The Wrong House: The Architecture of Alfred Hitchcock. Rotterdam: nai010. Jakle, J. and Sculle, K. (2002). The Gas Station in America. Baltimore, Md.: Johns Hopkins University Press. Johnson, J. (2004). Pervert in the Pulpit. 1st ed. Jefferson, N.C.: McFarland & Co. Kirk, J. (2015). Remnants: Prairie Gas Stations Remembered. Newton, KS: Mennonite Press. Kostka, A. (1999). Nietzsche and an Architecture of our Minds. Los Angeles, CA: Getty Research Institute for the History of Art and the Humanities. La Marche, Jean. (2003). The Familiar and the Unfamiliar in Twentieth Century Architecture. Chicago: University of Illinois Press. Lavery, D. (1995). Full of Secrets: Critical Approaches to Twin Peaks. Detroit: Wayne State Univ. Press. Lynch, D. and Rodley, C. (1999). Lynch on Lynch. 1st ed. London: Faber and Faber. Martin, R. (2014). The Architecture of David Lynch. 1st ed. London: Bloomsbury Academic.

Masschelein, A. (2011). The Unconcept: The Freudian Uncanny in Late-Twentieth-Century Theory. New York: New York Press. Mical, T. (2005). Surrealism and Architecture. Oxford: Psychology Press. Moran, J. (2005). Reading the Everyday. London: Routledge. Nochimson, M. (2013). David Lynch Swerves: Uncertainty From Lost Highway to Inland Empire. Texas: University of Texas Press. Paul, W. (2016). When Movies Were Theater: Architecture, Exhibition, and the Evolution of American Film. New York: Columbia University Press. Rodosthenous, G. (2015). Theatre as Voyeurism: The Pleasures of Watching. New York: Springer. Royle, N. (2003). The Uncanny. Manchester: Manchester University Press. Sheen, E., Davison, A. and Lynch, D. (2005). The Cinema of David Lynch. 1st ed. London: Wallflower Press. Simmel, G. and Levine, D. (2015). Georg Simmel on Individuality and Social Forms. Chicago: The University of Chicago Press. Stacy, R. (1977). Defamiliarization in Language and Literature. Syracuse, N.Y.: Syracuse University Press. Trigg, D. (2012). The Memory of Place: A Phenomenology of the Uncanny. Athens: Ohio University Press. Vidler, A. (1992). The Architectural Uncanny: Essays in the Modern Unhomely. Massachusetts: MIT Press. Vidler, A. (2002). Warped Space: Art, Architecture, and Anxiety in Modern Culture. Cambridge, Mass.: MIT. Vidler, A. (2008). Architecture Between Spectacle and Use. Williamstown, Mass: Clark Art Institute. Wallace, D. F. (1998) A Supposedly Fun Thing I’ll Never Do Again: Essays and Arguments. London: Abacus. Wigley, M. (2010). The Architecture of Deconstruction. Cambridge: MIT Press. Wilson, E. (2007). The Strange World of David Lynch. 1st ed. New York: Continuum.

Journals Aravot, I. (1995). Narrative-Myth and Urban Design. Journal of Architectural Education, 49(2). pp.79-91. Baldassare, M. and Wilson, G. (1995) More trouble in paradise: urbanisation and the decline in suburban quality- of-life ratings. Urban Affairs Review, 30, pp. 690-708. Baldassare, M. and Wilson, G. (1996) Changing sources of suburban support for local growth controls, Urban Studies, 33, pp. 459-471. Barber, B. (2001) Malled, mauled, and overhauled: Arresting suburban sprawl by transforming suburban malls into usable civic space, Public Space and Democracy, eds M. Henaff and T. Strong, Minneapolis, Minnesota University Press, pp. 201-220. Benko, G. (1997) Introduction: Modernity, Postmodernity and the Social Sciences, pp. 1–44 in G. Benko and U. Strohmayer (eds) Space and Social Theory: Interpreting Modernity and Postmodernity. Oxford: Blackwell. Countryman, C. and Jang, S. (2006). The effects of atmospheric elements on customer impression: the case of hotel lobbies. International Journal of Contemporary Hospitality Management, 18(7), pp.534-545. Foucault, M. and Miskowiec, J. (1986). Of Other Spaces. Diacritics, 16(1), p.22. Freer, S. (2012). Magritte: The Uncanny Sublime. Literature and Theology, 27(3), pp.330-344. Freud, S., Strachey, J., Cixous, H. and Dennome, R. (1976). Fiction and Its Phantoms: A Reading of Freud’s Das Unheimliche. New Literary History, 7(3), p.525-645. Freud, S. (1919). The ‘Uncanny’. The Standard Edition of the Complete Psychological Works of Sigmund Freud, Vol XVII (1917-1919): An Infantile Neurosis and Other Works, pp. 217-256. Graafland, A., De Hann, J. (1996). A Conversation with Rem Koolhaas, The Critical Landscape, 10, pp.227-8. Jentsch, E. (1997). On the Psychology of the Uncanny. Angelaki, 2(1), pp.7-16. Landis, C. (1924). Studies of Emotional Reactions. II. General Behavior and Facial Expression. Journal of Comparative Psychology, 4(5), pp.447-510. Lischetzke, T., Izydorczyk, D., Hüller, C. and Appel, M. (2017). The topography of the uncanny valley and individuals’ need for structure: A nonlinear mixed effects analysis. Journal of Research’ in Personality, 68, pp.96-113. Luckhurst, R. (2017). The Owls Are Not What They Seem: The World Of Twin Peaks. Sight & Sound, 6(1014), pp.18-22.

Nemanick, R. and Munz, D. (1994). Measuring the Poles of Negative and Positive Mood Using the Positive Affect NegativeAffect Schedule and Activation Deactivation Adjective Check List. Psychological Reports, 74(1), pp.195-199. Perkins, A., Inchley-Mort, S., Pickering, A., Corr, P. and Burgess, A. (2012). A facial expression for anxiety. Journal of Personality and Social Psychology, 102(5), pp.910-924. Seitz, B. (2014). Freud’s dream of the double. Continental Philosophy Review, 47(2), pp.177–193. Walzer, M. (1986) Pleasure and costs of urbanity, Dissent, 33(4), pp. 470-475. Webber, M. (1963) Order in diversity, community without propinquity, in: L. Wingo, JR (Ed.) Cities and Space: The Future Use of Urban Land, pp. 23-56. Baltimore, MD: Johns Hopkins University Press. Webber, M. (1964) The urban place and the nonplace urban realm, in: M.M. Webber, J.W. Dyckman, D.L. Foley et al., Explorations into Urban Structure, pp. 79-153. Philadelphia, PA: University of Pennsylvania Press. Webber, M. (1968/69) Planning in an environment of change, Town Planning Review, 39, pp. 179-195, 277-295. Weenig, M. W. H., Schmidt, T. and Midden, C.J. H. (1990) Social dimensions of neighbourhoods and the effectiveness of information programs, Environment and Behaviour, 22, pp. 27-54. Weiner, J. (2002) Between a Rock and a Non-Place: Towards a Contemporary Anthropology of Place. Reviews in Anthropology, 31(1), pp.21-27. Woźniak, B. (2017). Real and unreal – different kinds of realities in Twin Peaks. Irydion. Literatura - Teatr - Kultura, 3(1), pp.165-175.

Dissertations & Essays Adamis, A. (2013). Liquid Concepts: Liquid Architecture, the Philosophy of Gilles Deleuze and the Films of David Lynch. Doctoral Thesis. University College London. Basharat, N. (2007). [De] Familiarizing the Familiar: The City - Its Society, Its Architecture. Masters. Carleton University. Consbruck, R. (2010). The Uncanny: Disassociative Forces in Architecture. Masters. The University of Cincinnati. Jordan, R. (2003). Starting from Scratch: Turntables, Auditory Representation, and the Structure of the Known Universe in the Films of David Lynch. Masters. Concordia University. Unlu, O. (2017). Neo Tokyo: The Representation of Non-Places in Katsuhiro Otomo’s Akira. Masters. The University of Kent. Stevens, H. (2004). Masochism, the Male Spectator, and the Films of David Lynch. Doctoral Thesis. University of South Carolina.

Exhibitions Robots: The 500-Year Quest to Make Machines Human (2017) [Exhibition]. Science Museum, London. 4 March 2017 – 3 September 2017.

Online Websites HuffPost. (2018). Exploring David Lynch’s Dreams. [online] Available at: https://www.huffingtonpost.com/2013/10/02/ david-lynch-book_n_4031355.html [Accessed 4 Jan. 2018]. Othervoices.org. (2017). Other Voices 1.3 (January 1999), Bernd Herzogenrath “On the Lost Highway: Lynch and Lacan, Cinema and Cultural Pathology”. [online] Available at: http://www.othervoices.org/1.3/bh/highway.php [Accessed 12 Jun. 2017]. Psychologytoday.com.(2017). Reality Check (November 2011), John W. Hoopes “Apophenia and the Meaning of Life”. [online] Available at: https://www.psychologytoday.com/blog/reality-check/201111/11-11-11-apophenia-and-themeaning-life [Accessed 20 Jun. 2017]. Lebbeuswoods.wordpress.com (2017). Outsider Architecture (October 2007), Lebbeus Woods “Outsider Architecture”. [online] Available at: https://lebbeuswoods.wordpress.com/2007/10/01/outsider-architecture/ [Accessed 20 Jun. 2017].

Videos California College of the Arts – CCA. (2013). Lecture by Anthony Vidler: Towards an Other Architecture. [Online] [Accessed 29th July 2017]. Available from: https://www.youtube.com/watch?v=WlsXat7UFZs Kevin B. Lee. (2017).What is Lynchian? [Online] [Accessed 02nd August 2017]. Available from: https://vimeo.com/196761519 VoorDeFilm. (2017). The Art of David Lynch. [Online] [Accessed 02nd August 2017]. Available from: https://vimeo. com/223616087 AA School of Architecture. (2015). Anthony Vidler – Warped Space. [Online] [Accessed 05th November 2017]. Available from: https://www.youtube.com/watch?v=i0-uZszIwno

Audio-visual Media Brando, M. (1961) One-Eyed Jacks. [Film] Paramount Pictures. Cocteau, J. (1950) OrphĂŠe. [Film] DisCina. Deren, M. (1943). Meshes of the Afternoon. [Film] BFI. Godard, J. (1961). Une Femme est une Femme [Film] BFI. Hardy, R. (1973). The Wicker Man [Film] British Lion Films. Hitchcock, A. (1958). Vertigo. [Film] Universal Pictures. Kenneally, C. (2012). Side By Side. [Film] Axiom Films. Kon, Satoshi. (2006). Paprika [Film] Sony Pictures Entertainment. Lynch, D. (1977). Eraserhead. [Film] Libra Films International. Lynch, D. (1980). The Elephant Man. [Film] EMI Films. Lynch, D. (1984). Dune. [Film] Universal Pictures. Lynch, D. (1986). Blue Velvet. [Film] De Laurentiis Entertainment Group. Lynch, D. (1990). Wild at Heart. [Film] The Samuel Goldwyn Company. Lynch, D. (1990). Twin Peaks. [Television Series] CBS Television Distribution. Lynch, D. (1992). Twin Peaks: Fire Walk with Me. [Film] New Line Cinema. Lynch, D. (1997). Lost Highway. [Film] October Films. Lynch, D. (1999). The Straight Story [Film] Buena Vista Pictures. Lynch, D. (2001). Mulholland Drive. [Film] Universal Pictures. Lynch, D. (2006). Inland Empire. [Film] Studio Canal. Lynch, D. (2017). Twin Peaks: The Return. [Television Series] Showtime Networks. Nguyen, J. and Barnes, R. (2016). David Lynch: The Art Life. [Film] Duck Diver Films. Pizzolatto, N. (2014). True Detective [Television Series] HBO. Preminger, O. (1944). Laura. [Film] 20th Century Fox.

Rivette, J. (1971). Out 1. [Film] Sunshine Productions. Robson, M. (1957) Peyton Place. [Film] 20th Century Fox. Sud, V. (2011) The Killing [Television Series] Netflix. Tourneur, J. (1947). Out of the Past. [Film] RKO Radio Pictures. Wilder, B. (1945). The Lost Weekend. [Film] Paramount Pictures. Wilder, B. (1950). Sunset Boulevard. [Film] Paramount Pictures.

Primary Research Interviews Schaffner, A. K. 2017. Uncanny Origins & David Lynch. Interview with O. K. Unlu on 13 October. Canterbury. Griffies, H. 2017. Psychology of the Uncanny. Interview with O. K. Unlu on 17 November. Canterbury.

Emotional & Behavioural Response Test Data Unlu, O. 2018. Emotive Response Matrix. Kent School of Architecture. Schedule Number: 01 Unlu, O. 2018. Facial Deformation Catalogue. Kent School of Architecture. Schedule Number: 05 - 25

Illustrations

Outer Cover (Edited Photograph). The Uncanny Architecture of David Lynch. 2017. Image From: thekillingtimestv. files.wordpress.com. (2017). [online] Available at: https://thekillingtimestv.files.wordpress.com/2017/06/16002.jpg [Accessed 09 Jan. 2018]. Inner Cover (Edited Photograph). The uncanny mushroom cloud. 2017. Image From: thekillingtimestv.files. wordpress.com. (2017). Twin Peaks Episode 8, The Atomic Bomb, 16 July 1945. [online] Available at: https:// thekillingtimestv.files.wordpress.com/2017/06/16002.jpg [Accessed 09 Jan. 2018]. Contents (Edited Photograph). Inside the Eye of the Storm. 2017. Image From: emmjai37. (2017). Twin Peaks Episode 8, The Atomic Bomb, 16 July 1945. [online] Available at: https://imgur.com/a/cFmGB [Accessed 09 Jan. 2018]. Fig_1.1 (Photograph) Lynch’s Uncanny Photographic Perceptions of Lodz. 2000. Image From: photobite.uk. (2017). David Lynch_Untitled_Lodz_2000. [online] Available at: https://photobite.uk/photography-david-lynch-interview/ [Accessed 09 Jan. 2018]. Fig_1.2 (Film Still) Twin Peaks The Return - the Fireman and Señorita Dido Reside In the antiquated Fortress. 2017. Image From: Lynch, D. (2017). Twin Peaks: The Return. [Television Series] Showtime Networks. Fig_2.0 (Film Still) John Merrick Boards a Vessel into the unknown – from Lynch’s The Elephant Man. 1980. Image From: Lynch, D. (1980). The Elephant Man. [Film] EMI Films. Fig_2.1.1 (Film Still) Henry Spencer endures a traumatic dinner with his girlfriend’s family in Eraserhead – from Lynch’s Eraserhead. 1977. Image From: Lynch, D. (1977). Eraserhead. [Film] Libra Films International. Fig_2.1.2 (Film Still) Henry Spencer walks home through the industrial sprawl of Eraserhead – from Lynch’s Eraserhead. 1977. Image From: Lynch, D. (1977). Eraserhead. [Film] Libra Films International. Fig_2.1.3 (Film Still) The illogical fear of uncanniness at Winkies Diner – from Lynch’s Mulholland Drive. 2001. Image From: Lynch, D. (2001). Mulholland Drive. [Film] Universal Pictures. Fig_2.1.4 (Photograph) Japanese Newsreader Kodomoroid, Designed To Look and Act like a Human. 2017. Image Of: Robots: The 500-Year Quest to Make Machines Human (2017) [Exhibition]. Science Museum, London. 4 March 2017 – 3 September 2017.

Fig_2.2.1 (Photograph) John Hejduk’s House of the Suicide and House of the Mother of the Suicide Monuments in Prague. 2000. Image By: James Williamson (2000). [online] Available at: http://www.metropolismag.com/wp-content/ uploads/data-import/e8/e85a35973bef661285527d0a4cae6ebe-IPR20-20sochy20-2011.jpg [Accessed 10 Jan. 2018]. Fig_2.3.1 (Painting & Film Still) Francis Bacon’s 1935 ‘Two Figures at a window’ reference by Lynch in Twin Peaks. 2000. Image By: Francis Bacon (1935). [online] Available at: https://i.pinimg.com/originals/ea/e3/94/ eae39487633517f272b9fbecdc9c6425.jpg [Accessed 10 Jan. 2018]. Image From: Lynch, D. (2017). Twin Peaks: The Return. [Television Series] Showtime Networks. Fig_2.3.2 (Photograph) David Lynch in the Lobby of Henry Spencer’s Apartment Building in Eraserhead. 1977. Photograph By: Catherine E. Coulson (1977). [online] Available at: https://cinephiliabeyond.org/eraserheadnightmarish-journey-world-david-lynch-begins/ [Accessed 10 Jan. 2018]. Fig_2.3.3 (Film Still) The Duplicity of Frank Booth in Blue Velvet – from Lynch’s Blue Velvet. 1986. Image From: Lynch, D. (1986). Blue Velvet. [Film] De Laurentiis Entertainment Group. Fig_2.4.1 (Film Still) FBI Special Agent Dale Cooper and Laura Palmer in The Red Room In Twin Peaks The Return. 2017. Image From: Lynch, D. (2017). Twin Peaks: The Return. [Television Series] Showtime Networks. Fig_2.4.2 (Film Still) The Corruption of American Typologies in The Aftermath of Nuclear Testing. 2017. Image From: Lynch, D. (2017). Twin Peaks: The Return. [Television Series] Showtime Networks. Fig_2.4.3 (Film Still) Andy Brennan’s premonitions in the Fireman’s Fortress in Twin Peaks: The Return. 2017. Image From: Lynch, D. (2017). Twin Peaks: The Return. [Television Series] Showtime Networks. Fig_3.0 (Photograph) Facial Deformations and Behavioural Changes in Response to David Lynch’s Uncanny Architecture Test Catalogue Images. 2017. Photograph By: Orhan Kemal Unlu (2018). Fig_3.1 (Photograph) Preliminary Test Group. 2017. Photograph By: Orhan Kemal Unlu (2018). Fig_3.2 (Photograph) Lynch directs Justin Theroux as director Adam Kesher in Mulholland Drive. 2001. Photograph By: Melissa Moseley (2001). [online] Available at: https://cinephiliabeyond.org/mulholland-drive-the-master-of-theuncannys-greatest-work/ [Accessed 20 Jan. 2018]. Fig_3.3 (Photographs) Positive and Negative Response to the Diner Creature Manifestation scene In Mulholland Drive. 2017. Photographs By: Orhan Kemal Unlu (2018). Fig_4.0 (Film Stills) The Typologies of Twin Peaks: The Return. 2017. Image From: Lynch, D. (2017). Twin Peaks: The Return. [Television Series] Showtime Networks.

Fig_4.1.1 (Film Stills) The Woodsman Congregate at the Gas Station. 2017. Image From: Lynch, D. (2017). Twin Peaks: The Return. [Television Series] Showtime Networks. Fig_4.1.2 (Film Stills) Phases of Inhabitation, The Elevation of a Relic. 2017. Image From: Lynch, D. (2017). Twin Peaks: The Return. [Television Series] Showtime Networks. Fig_4.1.3 (Film Stills) Ascending the Gas Station Side Stair to the Place Above. 2017. Image From: Lynch, D. (2017). Twin Peaks: The Return. [Television Series] Showtime Networks. Fig_4.1.4 (Photographs) Negative Responses to the Gas Station in Twin Peaks: The Return. 2017. Photographs By: Orhan Kemal Unlu (2018). Fig_4.1.5 (Film Stills) The Shifting Realities of the Gas Station. 2017. Image From: Lynch, D. (2017). Twin Peaks: The Return. [Television Series] Showtime Networks. Fig_4.2.1 (Film Stills) The FBI Meet In Privacy of a City Hotel Suite To Discuss the Blue Rose Task Force. 2017. Image From: Lynch, D. (2017). Twin Peaks: The Return. [Television Series] Showtime Networks. Fig_4.2.2 (Film Stills) Agent Dale Cooper’s Doppelgänger Liaises with an Associate in A Rural Motel. 2017. Image From: Lynch, D. (2017). Twin Peaks: The Return. [Television Series] Showtime Networks. Fig_4.2.3 (Film Stills) Agent Dale Cooper is Pursued by His Doppelgänger Through the Labyrinthine Lobbies of the Black Lodge. 2017. Image From: Lynch, D. (2017). Twin Peaks: The Return. [Television Series] Showtime Networks. Fig_4.2.4 (Film Stills) After 25 Years Agent Dale Cooper Escapes the Black Lodge. 2017. Image From: Lynch, D. (2017). Twin Peaks: The Return. [Television Series] Showtime Networks. Fig_4.3.1 (Film Stills) The Roadhouse’s Stage Subtly Reflects the Decor of the Pivotal Red Room. 2017. Image From: Lynch, D. (2017). Twin Peaks: The Return. [Television Series] Showtime Networks. Fig_4.3.2 (Film Stills) Señorita Dido Witnesses the transcendence of the Fortress Theatre. 2017. Image From: Lynch, D. (2017). Twin Peaks: The Return. [Television Series] Showtime Networks. Fig_4.3.3 (Film Stills) The Fireman Levitates Reflecting the Deautomatisation of Perceptions. 2017. Image From: Lynch, D. (2017). Twin Peaks: The Return. [Television Series] Showtime Networks. Fig_4.3.4 (Film Still & Photograph) Demystification of Place as the French National Library and Person as Audrey’s Call to the Stage. 2017. Image From: Lynch, D. (2017). Twin Peaks: The Return. [Television Series] Showtime Networks. Photograph By: OMA (1989). [online] Available at: http://oma.eu/projects/tres-grande-bibliotheque [Accessed 22 Jan. 2018].

Fig_4.3.5 (Film Stills) The subsuming and exposure of Audrey in the Bang Bang Bar In Twin Peaks: The Return. 2017. Image From: Lynch, D. (2017). Twin Peaks: The Return. [Television Series] Showtime Networks. Fig_4.3.6 (Photographs) Facial Deformations Before, During and After Audrey’s Exposure. 2017. Photographs By: Orhan Kemal Unlu (2018). Fig_5.0 (Film Still) Lynch’s Framing of the Mushroom Cloud in Twin Peaks: The Return. 2017. Image From: Lynch, D. (2017). Twin Peaks: The Return. [Television Series] Showtime Networks. Fig_5.1.1 (Film Still) The Typologies of Twin Peaks. 2017. Image From: Lynch, D. (2017). Twin Peaks: The Return. [Television Series] Showtime Networks. Fig_5.1.2 (Film Still) The Paranoiac Interstice Between Reality and The Black Lodge. 2017. Image From: Lynch, D. (2017). Twin Peaks: The Return. [Television Series] Showtime Networks. Fig_5.2 (Film Still) Ascension from The Fireman’s Theatre. 2017. Image From: Lynch, D. (2017). Twin Peaks: The Return. [Television Series] Showtime Networks. Back Cover (Edited Drawing). The Duality of Cooper. 2017. Image From: Stark Insider (2017). [online] Available at: http://www.starkinsider.com/2017/06/twin-peaks-return-viewers-return-fan-artwork.html [Accessed 09 Jan. 2018].

Appendices

Further Reading

Freud and the Uncanny Freud’s initial analysis came from a place of doubt: ‘The unheimlich is [both], a domain and a concept… an elastic designation. The domain remains indefinite; the concept is without any nucleus: presenting itself only on the fringe of something else… resembling fright, fear [or] anguish. The indefiniteness is part and parcel of the concept … wising to retain the reality of the sense of things, what can be denoted is important… and establishes the basic sensory responses.’1 In grounding the uncanny, he associated it with more conventional human experiences, but recognises two components. A concept and a domain. This being a realm that exists for an unknown length of time, and without its own history. However perhaps the domain was once a familiar place, distorted by its conceptual components, as an invader of a preexisting reality, hiding a known history through its shocking nature. It is also the personal attributes of the experiencer that defines the concept and creates a unique enigma, not perceivable by others. Therefore, making it impossible for the domain to have a recordable history, but rather allude to infinity.

Apophenia and the Uncanny Linked to the uncanny, the human sense of Apophenia is the recognition of faces in non-faces. However, in modern psychology, it is more specifically defined as ‘an error of perception… the tendency to interpret random patterns as meaningful.’2 This is somewhat dismissive of cultivated apophenia which is described as seeing ‘those things that have become invisible…uncanny narratives which acquire and affect, intensity, and meaning through their resonance. Resonances [which] describe the social, affective, and aesthetic dimension of a perspective based in apophenia.’3 Moreover an apophenic reading of an uncanny occurrence may highlight a repressed meaning in something, which on the surface is meaningless.

1 2 3

Freud, S, et al. 1976. p. 531 Hoopes, J. 2011 Lepselter, S. 2016. p. 4

Freud on the Uncanny in Literary and Reality Freud differentiated between what he considered the literary uncanny, and life experiences of the uncanny. ‘The contrast between what has been repressed and what has been surmounted cannot be transposed on to the uncanny in fiction without profound modification; for the realm of phantasy depends on the fact that its content is not submitted to reality-testing. The paradoxical result is that in the first place a great deal that is not uncanny in fiction would be so if it happened in real life; and in the second place that there are many more means of creating uncanny effects in fiction than there are in real life.’4 Due to the constructed nature of fictional realities and the disconnected relationship an audience would have, the gravitas and personal affliction of the uncanny in reality, can never truly translate into fiction. However, this somewhat disregards the human contribution to fictitious stories, with ambiguity an audience can be encouraged to complete the picture with their own disposition, preconceptions and memories. Particularly with the captivating nature of visual and audible media.

Lynchian Irony and the Uncanny A differentiating factor between uncanny and Lynchian, is the consistent use of irony, presenting a dramatic contrast of darkness and humour. ‘Some guy killing his wife in and of itself doesn’t have much of a Lynchian tang to it… if it turns out the guy killed his wife over something like a persistent failure to refill the ice-cube tray after taking the last ice cube… the homicide could be described as having Lynchian elements.’5 To most people this would seem like an overreaction to a petty domestic dispute, and it’s this absurdism that creates humour. Sometimes only through music cues, or other contextual content. Although this may not be an exercise in defamiliarisation, it is almost certainly a kind of hyperfamiliar that portrays the darker ludicrousness of the human condition. Lynch sparks an ‘irreducible fascination… where everything is present and accounted for, but underneath, everything is rumbling…’6 Perhaps as a social commentary on unspoken horrors in plain sight. Or a complicit sheltering of the ugliness lurking behind the façade of small-town quaintness.

4 5 6

Freud, S. 1919. p. 249 Wallace, D. F. 1998. p. 150 Kevin, B. Lee, 2017

Carney Landis Methodology Derived from Carney Landis’ 1924 study of emotional reactions; investigating general behaviour and facial expressions when confronted with varying situations, elaborating an understanding of their psychological condition following each test. These varied from ‘listening to popular jazz dance records… solving mental multiplication questions… [to] cutting the head off a live white rat.’7 Although the screening tests will not be morally testing as this, the criteria model will be adopted, recognising specific emotive and behavioural responses to depictions of uncanny architecture. The assessment of each participant will be verified by an unbiased secondary party.

Lynchian Stroboscopic Cutting The filmic technique of stroboscopic cutting, where frames rapidly alternate, is used as an almost unpalatable voyeuristic view of the front façade, shifting into and out of focus and presenting various states of habitation. Perhaps for immediacy, in a forwardly aggressive manner, but also as a supportive visual motif for the strangeness of the clear dissociation of function. To covey the otherworldly presence that has elevated the architecture, an intense and ultimately memorable proposition of this space is necessary, as is drawn from the realm of the subconscious. By distorting time, light and perspective, the line that divides a relatable rural or suburban context that would usually host a gas station, and the surrealist vision of Lynch is blurred.

Landis, C. 1924. p. 485

171013_Interview with Dr Anna Katharina Schaffner – Uncanny Origins & David Lynch

General Background OKU: What is your occupation? AKS:

School Director of Education and Reader in Comparative Literature and Medical Humanities at the School of

European Culture and Languages in the University of Kent.

OKU: What are your particular interests and or specialist fields? AKS:

My current research interests are situated in the fields of the medical humanities, cultural history, the history of

psychiatry and psychoanalysis, and mind-body theory. My third monograph, Exhaustion: A History (Columbia University Press in 2016) charts the forgotten history of exhaustion from classical antiquity to the present day, examining the role of exhaustion symptoms in syndromes including melancholia, acedia, nervousness, neurasthenia, depression, Chronic Fatigue Syndrome, and burnout.

Uncanny OKU:

Are you aware of the ‘Uncanny’ if yes, what is your understanding of the term?

AKS:

Yes, I as a literary scholar I am well aware of Freud’s notion of the uncanny. Freud defines the uncanny, in very

simple terms, as the return of the repressed, of something which was once familiar but troubling and the knowledge of which returns when we encounter something that reminds us of it. He reflects on the etymology of the German term, and constructs his argument around the term ‘heimlich’ (homely, but also secret), and unheimlich (unhomely, but also, according to the etymological logic, known). Have you read his essay? Freud analyses E.T.A. Hoffmann’s ‘The Sandman’ (1816) in his essay ‘The Uncanny’ (1919), in which he sets out to explore the nature of the uncanny, predominantly with recourse to etymological and literary sources. Freud concludes this famous essay by explicitly differentiating between the literary uncanny and the uncanny as experienced in real life, and contrasts the distinct qualities of the two: the uncanny in the sphere of lived experience ‘occurs either when infantile complexes which have been repressed are once more revived by some impression, or when primitive beliefs which have been surmounted seem once more confirmed’. [i]

The uncanny in the fictional realm is different: ‘The contrast between what has been repressed and what has been surmounted cannot be transposed on to the uncanny in fiction without profound modification; for the realm of phantasy depends for its effect on the fact that its content is not submitted to reality-testing. The somewhat paradoxical result is that in the first place a great deal that is not uncanny in fiction would be so if it happened in real life; and in the second place that there are many more means of creating uncanny effects in fiction than there are in real life.’[ii] In short, Freud defines the ‘uncanny’ as the return of the repressed, which was once known (heimlich) and has become strange and alien owing to psychological, cultural and social repression (unheimlich). [i] Sigmund Freud, ‘The Uncanny’, in The Standard Edition, vol. XVII, pp. 217–52; p. 249. [ii] Ibid. (Freud’s emphasis).

OKU:

Does it relate to the works of David Lynch?

AKS:

Yes, absolutely. Lynch is excellent at creating uncanny moments of suspense in his films. Many critics analyse

his films in psychoanalytical terms.

OKU: If yes, would you consider the build environments in Lynch’s works to contribute to this sense of the uncanny in any way? AKS:

Yes, spaces definitely contribute to the sense of the uncanny in his work. They are claustrophobic, mysterious,

irrational, with frightening openings that seem to lead into other dimensions, or through which evil forces might enter. His spaces are porous in a metaphysical sense. The boundaries between the literal and the metaphorical get blurred, too, in his spatial arrangements. Suddenly a space might externalise a psychological state of mind, then it might signify something else again. Are you familiar with German expressionist film? I recommend you read something on that, as space/architecture is a vital tool in that tradition of filmmaking, too. Often space externalizes and reflects the psychology of the characters: distorted, disturbing, disorienting, upside-down etc.

Twin Peaks: The Return OKU:

Have you watched Twin Peaks: The Return, and do you have an overall opinion of it?

AKS:

I haven’t yet seen Twin Peaks: The Return - it is on my list!

171117_Interview with Dr Helen Griffies – Psychology of the Uncanny

General Background OKU:

What is your occupation?

HG:

I am a Consultant Clinical and Forensic Psychologist within the NHS Trust. Predominantly working in Kent at

Secure Hospitals for criminals afflicted with mental disorders.

OKU:

What are your particular interests and or specialist fields?

HG:

Following my initial psychology degree, I progressed my Doctorate and CPsychol in Clinical and Forensic

psychology. I worked with Professor Johnson as a forensic psychologist (known for working on the Ian Huntley Case), utilising knowledge of addictions and mental health.

OKU:

Are you familiar with the works of film director & artist David Lynch?

HG:

Yes, I was particularly fond of the original running of Twin Peaks, and own & have read the Secret Diary of Laura

Palmer. This has purely been for entertainment, I have no scholarly interest in his work.

Uncanny OKU:

Are you aware of the ‘Uncanny’ if yes, what is your understanding of the term?

HG:

Yes, simply put the familiar becoming unfamiliar, usually through dislocating its context. Although it perhaps

doesn’t relate to modern practicing psychology, it is particularly relevant to cognitive and neurological psychology. As humans, our brains use a king of algorithm to supersede conscious thought when completing certain tasks or when experiencing certain space. The human mind learns to expect and how to react. The uncanny subverts these expectations, distorting something that we have learnt to expect within its expected context

OKU:

Are there comparable concepts or terms in practising psychology?

HG:

Although Freud established a lot of ground and theories in regard to the Uncanny, such as talking therapy

and even considering the mind separate from the body, his works are more considered in principal rather than actually applied, as ethical and scientifically measurable methodologies as required by the NHS when practicing psychology. There have also been many more modern studies that have scientific grounding and are applicable to current practises. When assessing someone who is deemed a psychotic (Schizophrenia, manic-bipolar) they are recognised as making a break from reality. Their ability to process information has broken down, and they may suffer from anxiety or paranoia. This emotive state can be read in relation to an uncanny occurrence – where the familiar has been removed from its context. Delusion is also very relevant, such as Capgras delusion – a psychological disorder where someone believes people close to them such as a parent, spouse or sibling has been replaced by someone identical.

OKU:

Can buildings or internal spaces by perceived as uncanny?

HG:

Yes, definitely. If you simplify spatial design as purely a stimulus – like all others - it can have an effect on

someone’s psychological disposition. To an extreme, people suffering with autism can be mentally overloaded by the intensity of certain spaces. A typical feature of spaces that effects most people is height and depth, you can become disorientated by losing a sense of the perception of space, established by familiarity, if its relationship to people is intensified. I can distinctly recall visiting Hagia Sophia in Istanbul and being almost shocked by the internal ceiling heights, particularly seeing a large ladder resting on a wall, but coming nowhere near the apex of the ceiling.

OKU:

Can you recommend any particular studies related to spatial uncanniness?

HG:

The visual cliff experiment created by psychologists Eleanor J. Gibson and Richard D. Walk is very relevant and

looks at instinctual awareness, and manipulating cognitive responses through emotive directives. It essentially highlights how we are taught from a very early age to go to the familiar, rather than the abstract. It is also worth reading into the Uncanny Valley and the relevant brain scan studies, cognitive and visual perception, neuroscience and emotional states. It is essential to go beyond Freud, and consider more recent studies of visual perception, of which are numerous.

OKU:

Could there be a link between changes in a person’s psychological disposition and watching films?

HG:

Yes, although it is a greatly debated topic, there are many studies revealing this to be true. The most prolific

being Albert Bandura’s 1961 Bobo Doll Experiment. Which tested if filmic presentations could encourage violent tendencies. As passive recipient of stimuli, can we be encouraged to act a certain way, and his results concluded that we could. Although modern analysis of this suggests this is mediated by the individual’s personality – have they shown themselves to be vulnerable or suggestible, then perhaps that are more susceptible. Social modelling and nature & nurtured traits should also be considered, as well as normal distribution.

OKU:

Could there be a link between changes in a person’s psychological disposition and experiencing architecture?

HG:

Yes, this is particularly relevant to ergonomics psychology. The study of humans and their environments. As a

psychological stimulus, there architecture will have some type of effect on a person psychological disposition.

OKU:

Are you familiar with Carney Landis’ studies of emotional reaction, is there a related methodology I could adopt

to my own study? HG:

I did look into his study prior to this interview, and it really shows how unethical tests from that time period

were. A method you may wish to adopt which is used regularly in practise, is the Subject Units of Disturbance or SUDS emotion rating system. (Comparable to PANAS) This should be issued before and after each test as a comparative set of data, documenting the change between each viewing. Daniel Freemans study of facial expressions should be reviewed as a precedent.

OKU:

Can facial expressions denote a change in a person’s psychological disposition?

HG:

Emotional recognition is possible from looking at someone’s facial expression, and there are so called universal

expressions – signifying happiness, fear, sadness etc. However, it is necessary to gain a secondary rating of your own readings, of someone unaware of the test to verify your reading of each facial expression. It is also necessary to consider variations in each participant’s medical wellbeing (have they suffered a stroke or other facial paralysing affliction) as well as cultural background (recognising communicative variations such as gestures or disposition (Refer to Professor Dinesh Bhugra). It is vital to establish a scientific method – understand what your trying to achieve and adopt a clear method to give your study good weight.

Emotive Response Test Example 00. Preliminary Questions: Please complete the following questions below in brief. 1-

Age: ______________________________________

Staff/Student & Department: ______________________________________

Are you tired or hungry? _______________________________________

Have you heard of David Lynch? (Yes/No) _____________________________________________________________________________________

Have you seen any of his work prior to this? (Yes/No) _____________________________________________________________________________________

If yes – what single work comes to mind and why? (Describe why with a single word or short phrase) _____________________________________________________________________________________

Have you heard of the term Uncanny? (Yes/No) _____________________________________________________________________________________

If yes – provide a very brief description. If no – briefly describe what you think it may mean? _____________________________________________________________________________________

How would you describe your current emotional state in 1 word? _____________________________________________________________________________________

On a scale from 1 – 5 (1 Slightly or not at all to 5 Extremely) please rate how you fell now for the terms below.

1. Interested 2. Distressed 3. Excited 4. Upset 5. Strong

__________ __________ __________ __________ __________

6. Guilty 7. Scared 8. Hostile 9. Enthusiastic 10. Proud

__________ __________ __________ __________ __________

11. Irritable 12. Alert 13. Ashamed 14. Inspired 15. Nervous

__________ __________ __________ __________ __________

16. Determined 17. Attentive 18. Jittery 19. Active 20. Afraid

__________ __________ __________ __________ __________

01. David Lynch Filmography Clip 01 1-

On a scale from 1 – 5 (1 Slightly or not at all to 5 Extremely) please rate how you felt whilst watching the clip for the terms below.

1. Interested 2. Distressed 3. Excited 4. Upset 5. Strong

__________ __________ __________ __________ __________

6. Guilty 7. Scared 8. Hostile 9. Enthusiastic 10. Proud

__________ __________ __________ __________ __________

11. Irritable 12. Alert 13. Ashamed 14. Inspired 15. Nervous

__________ __________ __________ __________ __________

16. Determined 17. Attentive 18. Jittery 19. Active 20. Afraid

__________ __________ __________ __________ __________

Clip 02 2-

On a scale from 1 – 5 (1 Slightly or not at all to 5 Extremely) please rate how you felt whilst watching the clip for the terms below.

1. Interested 2. Distressed 3. Excited 4. Upset 5. Strong

__________ __________ __________ __________ __________

6. Guilty 7. Scared 8. Hostile 9. Enthusiastic 10. Proud

__________ __________ __________ __________ __________

11. Irritable 12. Alert 13. Ashamed 14. Inspired 15. Nervous

__________ __________ __________ __________ __________

16. Determined 17. Attentive 18. Jittery 19. Active 20. Afraid

__________ __________ __________ __________ __________

Clip 03 1-

On a scale from 1 – 5 (1 Slightly or not at all to 5 Extremely) please rate how you felt whilst watching the clip for the terms below.

1. Interested 2. Distressed 3. Excited 4. Upset 5. Strong

__________ __________ __________ __________ __________

6. Guilty 7. Scared 8. Hostile 9. Enthusiastic 10. Proud

__________ __________ __________ __________ __________

11. Irritable 12. Alert 13. Ashamed 14. Inspired 15. Nervous

__________ __________ __________ __________ __________

16. Determined 17. Attentive 18. Jittery 19. Active 20. Afraid

__________ __________ __________ __________ __________

David Lynch Filmography - Overall: 1-

What was the most memorable aspect of the previously three clips shown, if any? ____________________________________________________________________________________________

Which of the three, if any, was the most intriguing? ____________________________________________________________________________________________

What can you recall being consistent between each clip, if anything? ____________________________________________________________________________________________

Please rate how strongly you agree or disagree with each of these statements, by marking the appropriate field with a tick.

There is a stylistic similarity between these clips. These clips are all strange to a degree. Architectural or spatial design is an important feature in these clips. There is not a clear logic to these clips. I want to see the surrounding context of these clips.

Completely Disagree

Somewhat Disagree

Neutral

Somewhat Agree

Completely Agree

02. Twin Peaks: The Return – Hotel Clip 04 1-

On a scale from 1 – 5 (1 Slightly or not at all to 5 Extremely) please rate how you felt whilst watching the clip for the terms below.

1. Interested 2. Distressed 3. Excited 4. Upset 5. Strong

__________ __________ __________ __________ __________

6. Guilty 7. Scared 8. Hostile 9. Enthusiastic 10. Proud

__________ __________ __________ __________ __________

11. Irritable 12. Alert 13. Ashamed 14. Inspired 15. Nervous

__________ __________ __________ __________ __________

16. Determined 17. Attentive 18. Jittery 19. Active 20. Afraid

__________ __________ __________ __________ __________

Clip 05 1-

On a scale from 1 – 5 (1 Slightly or not at all to 5 Extremely) please rate how you felt whilst watching the clip for the terms below.

1. Interested 2. Distressed 3. Excited 4. Upset 5. Strong

__________ __________ __________ __________ __________

6. Guilty 7. Scared 8. Hostile 9. Enthusiastic 10. Proud

__________ __________ __________ __________ __________

11. Irritable 12. Alert 13. Ashamed 14. Inspired 15. Nervous

__________ __________ __________ __________ __________

16. Determined 17. Attentive 18. Jittery 19. Active 20. Afraid

__________ __________ __________ __________ __________

03. Twin Peaks: The Return – Convenience Store/ Gas Station Clip 06

On a scale from 1 – 5 (1 Slightly or not at all to 5 Extremely) please rate how you felt whilst watching the clip for the terms below.

1. Interested 2. Distressed 3. Excited 4. Upset 5. Strong

__________ __________ __________ __________ __________

6. Guilty 7. Scared 8. Hostile 9. Enthusiastic 10. Proud

__________ __________ __________ __________ __________

11. Irritable 12. Alert 13. Ashamed 14. Inspired 15. Nervous

__________ __________ __________ __________ __________

16. Determined 17. Attentive 18. Jittery 19. Active 20. Afraid

__________ __________ __________ __________ __________

Clip 07 1-

On a scale from 1 – 5 (1 Slightly or not at all to 5 Extremely) please rate how you felt whilst watching the clip for the terms below.

1. Interested 2. Distressed 3. Excited 4. Upset 5. Strong

__________ __________ __________ __________ __________

6. Guilty 7. Scared 8. Hostile 9. Enthusiastic 10. Proud

__________ __________ __________ __________ __________

11. Irritable 12. Alert 13. Ashamed 14. Inspired 15. Nervous

__________ __________ __________ __________ __________

16. Determined 17. Attentive 18. Jittery 19. Active 20. Afraid

__________ __________ __________ __________ __________

04. Twin Peaks: The Return – Club/Performance Space Clip 08 1-

On a scale from 1 – 5 (1 Slightly or not at all to 5 Extremely) please rate how you felt whilst watching the clip for the terms below.

1. Interested 2. Distressed 3. Excited 4. Upset 5. Strong

__________ __________ __________ __________ __________

6. Guilty 7. Scared 8. Hostile 9. Enthusiastic 10. Proud

__________ __________ __________ __________ __________

11. Irritable 12. Alert 13. Ashamed 14. Inspired 15. Nervous

__________ __________ __________ __________ __________

16. Determined 17. Attentive 18. Jittery 19. Active 20. Afraid

__________ __________ __________ __________ __________

Clip 09 1-

On a scale from 1 – 5 (1 Slightly or not at all to 5 Extremely) please rate how you felt whilst watching the clip for the terms below.

1. Interested 2. Distressed 3. Excited 4. Upset 5. Strong

__________ __________ __________ __________ __________

6. Guilty 7. Scared 8. Hostile 9. Enthusiastic 10. Proud

__________ __________ __________ __________ __________

11. Irritable 12. Alert 13. Ashamed 14. Inspired 15. Nervous

__________ __________ __________ __________ __________

16. Determined 17. Attentive 18. Jittery 19. Active 20. Afraid

__________ __________ __________ __________ __________

Twin Peaks: The Return - Overall 1-

What was the most memorable aspect of the previously six clips shown, if any? ____________________________________________________________________________________________

Which of the six, if any, was the most intriguing? ____________________________________________________________________________________________

What can you recall being consistent between each clip, if anything? ____________________________________________________________________________________________

Please rate how strongly you agree or disagree with each of these statements, by marking the appropriate field with a tick.

Completely Disagree

Somewhat Disagree

Neutral

Somewhat Agree

Completely Agree

Emotive Response Data Matrix Â 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

1 2 3 4 5

0 1 2 3 4 5 6 7 8 9 73

PANAS Emotion Criteria:

Interested Distressed Excited Upset Strong Guilty Scared Hostile Enthusiastic Proud Irritable Alert Ashamed Inspired Nervous Determined Attentive Jittery Active Afraid

PANAS Emotion Scale:

No / Slightly A Little Moderately Quite a Bit Extremely

PANAS Total Average Scores Positive Negative 32 26 26 29 26 28 23 24 26 25

19 24 24 25 23 19 26 25 18 20

PANAS Emotion Participant Number

01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25

PANAS Emotion Participant Number

01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25

Preliminary Questions 1

3 4

5 6 7 8

9 10 11 12 13 14 15 16 17 18 19

5 4 5 4 5 5 4 4 4 5 5 5 5 4 4 5 5 5 2 4 5 3 5 5 5

4 3 4 5 5 4 5 1 1 1 1 1 2 1 1 1 1 1 1 2 4 2 1 1 1

5 5 5 3 5 3 1 2 4 4 3 2 4 3 4 4 3 3 2 3 5 4 5 3 2

5 5 5 2 4 2 1 3 3 1 3 2 3 1 3 3 1 1 5 3 2 4 5 5 1

1 2 2 1 1 2 2 3 4 4 5 4 5 4 4 4 3 3 4 4 4 4 5 3 2

Clip 01

3 3 2 5 5 1 3 1 1 1 1 1 1 1 1 1 1 1 1 1 3 2 1 1 1

1 1 2 1 1 1 2 1 1 1 1 1 1 1 1 1 1 1 1 4 1 2 1 1 1

2 2 3 2 2 2 2 1 2 1 1 1 1 2 1 2 5 1 1 4 1 3 1 2 1

1 1 1 5 2 2 2 1 1 1 1 1 1 2 1 1 1 1 1 3 1 2 1 2 1

1 1 2 1 1 1 1 3 2 2 2 3 4 1 2 4 1 1 5 1 4 3 5 5 1

5 3 4 4 3 2 2 1 1 1 1 1 3 2 1 1 1 1 1 5 1 2 1 1 1

4 4 5 5 5 3 3 3 4 4 4 4 3 3 3 3 2 4 2 4 1 4 5 4 3

1 1 2 1 1 1 1 1 1 1 1 1 2 1 1 1 1 1 1 5 1 3 1 1 1

2 2 1 1 2 1 1 2 5 5 3 4 4 4 3 2 1 1 3 3 4 2 5 5 3

4 4 5 5 4 5 3 2 3 2 4 1 2 4 3 1 5 1 1 4 2 4 1 2 2

1 2 1 1 1 1 1 3 4 3 3 3 4 4 4 3 3 1 5 3 4 4 5 5 2

4 3 5 5 4 3 2 2 5 4 4 5 4 3 3 4 3 4 4 4 5 4 5 5 3

3 2 3 5 5 4 2 3 2 1 4 1 3 4 3 1 2 2 3 4 2 3 1 2 2

2 2 3 1 1 1 1 2 4 5 4 3 4 4 3 4 3 1 5 2 4 3 5 2 2

2 1 1 2 1 2 1 1 2 2 1 1 2 3 2 1 3 1 1 4 1 4 1 1 1

30 30 34 24 29 22 17 27 39 37 36 35 40 31 33 36 25 24 37 31 38 35 50 42 24

26 21 27 35 29 24 23 13 15 12 16 10 18 21 15 11 21 11 12 36 17 27 10 14 12

PANAS Total Average Score

3 4

5 6 7 8

9 10 11 12 13 14 15 16 17 18 19

4 5 4 4 5 4 4 4 4 1 4 5 4 2 4 3 4 4 2 4 3 4 5 4 5

5 4 4 5 5 5 5 2 1 2 1 2 2 4 1 2 1 1 2 2 5 3 1 3 1

3 2 2 3 2 3 3 1 2 2 3 2 4 2 3 4 1 1 2 1 3 4 2 2 4

2 2 3 1 1 2 2 3 3 1 4 1 3 1 2 2 1 1 4 1 2 2 4 3 1

1 1 1 2 2 1 1 2 2 1 4 2 4 2 4 3 4 1 1 3 3 3 3 2 1

5 5 5 4 4 4 5 1 2 1 1 1 1 1 1 2 1 1 1 1 1 2 2 1 1

1 2 1 2 1 1 1 1 1 1 1 2 1 1 1 1 1 1 1 2 4 3 1 1 1

2 2 2 1 5 1 2 2 4 3 1 3 3 3 1 3 1 1 2 2 1 4 1 3 1

5 4 5 5 5 4 5 2 4 2 1 4 1 4 1 1 1 1 2 2 1 2 1 2 1

1 1 2 3 1 2 1 3 1 1 3 1 4 1 1 1 1 1 1 2 2 1 3 2 1

4 4 4 4 4 4 4 4 2 3 4 1 4 2 1 4 1 1 1 3 3 2 2 3 1

5 5 4 3 5 4 5 5 5 2 4 3 4 3 3 5 3 4 2 5 4 3 4 4 4

1 2 1 2 1 1 1 2 1 1 1 1 1 1 1 3 1 1 1 2 1 3 2 1 1

20 AP AN

3 2 2 1 1 2 1 2 1 1 4 1 4 1 2 2 3 1 1 3 2 2 2 4 4

5 4 3 5 4 5 5 3 4 3 4 3 3 5 3 4 1 2 2 3 1 3 2 2 1

1 2 1 3 5 1 1 2 1 1 4 1 4 1 3 2 1 1 2 4 3 4 3 4 2

5 2 3 4 5 4 5 2 4 2 4 2 4 3 4 4 2 4 3 5 3 4 4 4 5

5 5 5 2 5 5 5 4 5 2 1 3 3 4 3 4 1 2 2 3 2 3 1 2 2

1 1 4 5 2 1 1 4 1 1 4 2 3 1 3 5 2 1 1 3 2 3 1 3 3

20 AP AN 2 2 2 1 3 1 2 2 4 2 1 2 2 4 1 3 1 1 2 3 3 2 1 2 1

26 23 26 29 29 24 24 28 24 13 38 20 38 17 29 31 22 19 19 31 27 30 31 32 30

35 34 32 31 37 31 35 23 28 20 16 22 21 29 14 27 10 12 16 23 22 27 14 20 11

PANAS Total Average Score

PANAS Emotion Participant Number

01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25

PANAS Emotion Participant Number

01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25

Clip 02 1

3 4

5 6 7 8

9 10 11 12 13 14 15 16 17 18 19

5 5 4 4 2 5 5 2 2 4 4 5 4 3 4 2 4 4 2 2 4 4 5 4 5

5 5 3 2 3 1 5 3 2 3 1 4 2 3 1 2 1 2 3 2 3 4 3 2 1

4 4 4 2 2 2 2 2 1 4 4 3 4 2 2 1 2 1 1 2 3 3 2 3 3

2 1 3 5 3 5 5 3 3 1 3 3 4 1 1 3 1 1 1 3 3 4 3 3 1

1 2 2 3 2 1 2 2 2 3 4 2 4 3 3 2 4 1 2 3 3 4 3 3 1

Clip 03

1 4 2 1 2 5 5 2 4 2 1 2 2 2 1 3 1 1 2 3 3 3 4 3 1

1 1 1 4 1 1 1 1 4 1 1 2 1 1 1 2 1 1 1 1 2 2 3 2 1

1 1 2 5 5 2 5 2 2 2 1 3 2 2 1 4 1 1 3 2 2 3 2 2 2

4 4 1 2 4 4 2 4 4 2 1 3 2 3 1 4 1 1 2 3 2 2 2 4 1

2 3 3 2 1 1 2 2 1 1 3 1 4 1 1 1 1 1 1 2 1 2 2 2 1

2 3 3 1 4 4 5 4 4 2 1 3 3 4 1 5 1 1 2 4 3 2 4 3 1

1 1 1 1 1 5 5 4 2 3 4 4 3 4 3 5 3 4 2 3 4 3 4 4 5

2 2 4 3 1 1 1 1 4 1 1 4 1 2 1 3 1 1 1 3 1 2 4 1 1

5 2 4 2 1 1 1 1 1 1 4 2 4 2 1 1 3 1 2 2 1 2 1 2 3

1 2 2 1 4 3 5 3 3 3 1 4 3 3 2 4 1 2 3 2 3 4 1 2 2

1 3 1 1 3 2 2 2 1 1 4 2 4 1 2 3 1 1 1 4 2 3 2 3 2

4 4 2 3 4 2 5 2 4 2 4 4 3 2 3 5 2 5 2 4 2 4 4 2 5

5 5 5 2 4 4 5 4 4 1 1 4 2 4 3 4 1 1 3 3 3 4 2 1 3

1 2 1 1 1 5 5 3 2 3 4 3 3 3 3 1 2 1 1 3 4 3 2 4 3

1 2 1 1 4 5 5 2 2 2 1 3 2 3 1 4 2 1 3 3 3 3 3 2 2

26 27 25 24 20 29 34 23 19 23 38 29 37 22 23 24 23 20 15 28 27 32 28 30 29

23 29 24 22 32 30 39 26 33 19 10 32 20 27 13 35 11 12 23 26 25 29 28 22 15

PANAS Total Average Score

3 4

5 6 7 8

9 10 11 12 13 14 15 16 17 18 19

5 5 5 5 4 4 4 4 3 4 4 5 4 4 4 5 5 4 2 1 5 4 5 5 5

3 4 5 4 5 1 5 3 1 4 1 4 3 4 1 4 1 2 4 3 1 4 3 2 3

3 4 4 2 3 1 1 2 1 4 3 4 4 1 4 4 3 1 3 2 4 4 1 3 2

4 2 1 1 4 1 1 2 4 1 4 2 3 1 3 2 1 1 1 3 5 2 2 3 1

2 1 1 4 1 5 2 1 1 5 4 5 3 2 3 1 4 1 1 2 4 4 1 4 1

5 2 2 1 1 2 3 2 1 1 1 4 1 3 1 3 1 1 3 2 5 2 4 1 2

1 2 2 1 1 1 2 1 1 1 1 3 1 1 1 1 1 1 1 1 2 2 3 1 1

2 2 5 4 4 5 2 3 5 4 2 4 3 4 2 4 1 2 4 4 4 4 4 2 3

2 1 2 2 1 2 2 2 4 1 1 4 1 4 1 2 1 1 2 3 3 2 4 3 1

1 1 2 4 1 2 1 1 2 1 4 2 4 1 1 1 1 1 1 1 2 2 2 1 1

1 1 2 2 3 2 2 3 2 3 1 4 4 4 1 4 1 1 3 4 4 2 4 2 1

4 4 5 5 5 4 3 4 5 4 4 5 3 4 4 5 3 5 3 5 5 3 4 3 5

1 1 1 1 1 1 1 1 1 1 1 3 1 2 1 1 1 1 1 2 1 2 4 1 1

20 AP AN

1 2 1 2 1 4 1 1 1 2 4 4 3 1 2 1 3 1 1 2 4 2 1 1 4

1 5 2 2 5 3 3 2 4 5 2 4 3 4 2 4 1 3 3 3 5 4 4 2 4

1 1 2 3 1 4 1 3 3 3 4 5 3 1 2 2 1 1 1 4 5 4 2 3 1

5 4 4 2 5 2 2 2 4 5 4 4 3 4 4 4 3 5 4 5 5 4 4 4 5

5 5 5 2 5 2 2 2 5 4 1 3 3 4 3 5 1 1 4 4 4 4 4 3 3

1 2 4 3 1 4 1 3 4 3 4 4 3 1 3 4 2 1 1 3 5 4 3 4 2

20 AP AN 1 1 4 4 2 2 1 2 4 4 1 4 2 4 2 3 2 1 3 4 4 4 3 3 3

27 26 29 31 26 31 17 23 28 32 39 40 33 20 30 29 26 21 18 28 44 33 25 31 27

22 24 30 23 28 21 23 21 28 28 12 37 22 34 15 31 11 14 28 30 33 30 37 20 22

PANAS Emotion Participant Number

01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25

PANAS Emotion Participant Number

01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25

Clip 04 1

3 4

4 4 3 2 3 4 3 2 4 3 4 3 3 2 4 5 4 5 3 3 5 4 5 1 5

4 4 3 2 4 4 4 3 2 4 1 4 3 3 1 4 1 2 4 3 1 2 1 5 3

3 3 2 1 1 1 1 1 2 3 3 3 3 1 3 4 1 1 1 3 5 4 5 1 3

Clip 05

2 2 4 1 2 1 2 2 4 1 1 2 1 1 1 3 1 1 3 3 3 2 2 4 1

3 4

4 4 4 2 2 3 2 3 5 5 3 3 4 5 4 5 4 5 4 4 3 4 5 4 5

5 5 5 1 1 1 1 2 1 2 1 5 2 2 2 2 1 1 2 2 4 2 2 3 1

5 4 3 3 3 3 1 2 4 3 4 4 3 4 3 4 2 1 3 4 3 4 3 4 4

2 2 5 2 1 1 1 1 2 1 1 4 2 1 1 1 1 1 2 1 2 2 2 1 1

HOTEL 01

5 6 7 8

9 10 11 12 13 14 15 16 17 18 19

1 1 3 3 1 1 1 3 3 1 4 2 3 1 2 1 1 1 1 3 5 2 4 2 1

2 2 1 1 1 2 2 1 2 2 4 4 3 2 3 2 4 1 1 2 5 4 4 1 1

1 3 1 3 2 1 1 1 3 1 1 4 1 1 1 1 1 1 3 2 2 2 5 1 1

3 3 3 2 2 2 2 2 2 1 1 4 3 3 1 4 1 1 2 1 4 3 5 2 2

1 1 2 2 3 3 1 2 3 4 1 3 1 3 1 1 1 1 1 2 2 2 2 2 1

HOTEL 02

2 2 2 2 3 2 1 1 1 2 3 3 4 1 1 1 1 1 3 2 4 2 5 1 1

5 4 5 4 4 4 4 4 4 1 1 4 3 4 1 3 1 1 4 3 5 3 2 5 1

2 3 2 4 4 4 2 3 4 4 4 4 3 3 4 5 3 4 1 4 5 4 4 4 3

2 2 1 1 1 1 1 1 3 5 1 4 1 2 1 1 1 1 1 3 1 2 2 1 1

1 1 1 3 3 3 1 1 3 1 3 2 3 1 1 3 1 1 3 3 5 2 4 1 3

2 2 2 2 4 1 1 2 4 1 1 4 2 3 2 5 1 2 1 3 3 3 4 2 3

4 4 4 1 1 1 1 1 4 4 4 3 3 2 3 2 1 1 4 3 5 4 5 3 2

1 2 4 2 2 2 1 2 4 2 4 5 3 2 4 5 3 4 4 4 4 4 5 4 5

4 4 4 2 3 2 2 4 2 3 1 4 2 3 2 4 1 1 1 2 3 3 2 4 3

1 2 3 1 1 1 1 2 3 1 4 4 3 1 3 3 3 1 4 3 5 3 5 3 2

5 6 7 8

9 10 11 12 13 14 15 16 17 18 19

1 2 2 4 4 4 1 3 4 1 4 3 3 2 1 4 1 1 1 3 1 2 5 1 1

1 2 1 2 2 3 1 2 2 3 4 4 3 3 4 2 4 1 1 4 2 4 4 3 1

1 1 1 2 1 1 1 1 1 1 1 3 1 1 1 1 1 1 1 1 1 2 1 1 1

1 1 2 1 1 1 1 1 1 1 1 4 1 1 1 3 1 1 2 1 2 3 2 2 2

5 5 5 1 1 1 1 1 1 1 4 5 2 1 1 1 1 1 1 1 2 2 2 2 1

2 2 1 1 1 1 1 1 1 1 1 2 4 1 1 1 1 1 1 3 1 2 2 2 1

4 4 4 3 3 3 2 3 1 1 4 5 4 1 1 3 1 1 2 3 2 2 2 4 1

4 5 5 5 3 3 2 3 3 4 1 5 3 3 3 5 3 4 4 4 3 4 5 4 4

1 1 1 2 2 2 1 1 1 1 3 3 2 1 1 1 1 1 1 1 1 2 1 1 1

3 3 1 3 2 1 1 2 3 3 1 2 3 3 1 2 1 1 1 4 1 2 2 2 3

5 5 5 3 2 3 1 2 2 3 1 4 2 1 2 4 2 2 3 1 3 3 2 3 2

4 2 1 1 1 1 1 3 4 2 4 3 3 3 1 3 1 1 2 4 3 4 4 3 1

5 5 5 2 2 2 2 2 3 4 4 5 3 4 3 5 4 5 3 4 3 4 4 4 4

3 3 5 3 2 1 1 3 2 2 1 5 3 1 2 1 1 1 3 2 2 3 2 4 2

1 3 1 4 3 4 1 3 4 2 4 4 2 4 2 4 3 1 1 4 3 2 4 5 1

20 AP AN 4 4 4 4 2 1 1 2 3 4 1 4 2 2 1 3 1 1 4 3 2 3 3 4 2

21 24 25 20 20 21 14 17 30 23 37 33 31 16 28 31 22 20 25 30 48 33 46 21 26

28 29 29 23 27 20 19 23 30 25 10 37 19 25 12 29 10 12 24 25 26 25 28 30 18

20 AP AN 2 2 2 1 2 1 1 2 1 1 1 4 2 1 1 3 1 1 2 2 2 3 2 1 1

30 32 24 27 23 25 13 24 33 28 30 35 31 32 23 35 24 21 21 38 23 32 38 32 25

29 29 35 19 16 15 11 17 13 14 18 42 21 11 13 20 11 11 19 15 21 24 18 22 13

PANAS Emotion Participant Number

01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25

PANAS Emotion Participant Number

01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25

Clip 06 1

3 4

3 2 1 1 1 3 3 2 1 1 4 3 3 3 2 2 5 4 3 1 3 4 5 2 5

3 5 4 3 3 5 5 3 3 4 1 5 3 4 3 5 1 2 2 1 2 1 5 2 2

1 1 1 2 2 2 1 1 1 1 3 4 2 1 2 3 2 1 1 1 3 4 1 2 1

Clip 07

2 2 3 2 2 5 5 2 2 3 1 4 3 1 1 4 1 1 2 1 5 1 3 2 1

3 4

4 4 4 4 5 5 4 4 1 3 3 4 3 4 2 4 4 4 3 1 3 4 3 4 5

5 4 4 4 3 4 5 3 4 4 1 4 3 4 3 5 1 1 4 2 2 4 3 3 1

2 1 1 1 2 2 2 1 1 3 3 3 2 2 2 3 2 1 1 1 3 5 1 2 3

5 1 5 5 5 1 5 1 2 1 1 4 2 1 2 4 1 1 2 3 3 4 1 1 1

GAS STATION 01 5 6 7 8

9 10 11 12 13 14 15 16 17 18 19

2 2 5 5 2 2 5 2 1 1 4 3 3 1 1 2 1 1 1 3 5 2 3 2 1

1 1 1 2 2 2 1 1 1 1 3 3 2 2 2 2 4 1 1 1 3 4 5 1 1

3 3 3 2 2 2 2 2 3 1 1 3 3 1 1 1 1 1 1 4 1 1 4 1 1

2 2 2 2 2 2 2 2 3 2 1 4 3 3 1 5 1 2 2 2 1 3 5 3 2

5 2 2 5 5 5 5 2 5 1 1 4 2 3 1 3 1 1 2 4 1 2 3 3 1

2 2 3 1 1 1 1 1 1 1 4 2 3 1 1 1 1 1 1 1 2 2 1 3 1

5 5 5 5 5 5 5 4 5 3 1 5 4 4 3 5 1 1 2 5 3 3 4 2 1

3 3 3 5 2 5 5 2 3 3 4 3 3 4 2 5 4 1 2 4 5 4 5 3 3

1 1 1 1 1 2 1 1 2 1 1 3 2 2 1 1 1 1 1 4 1 2 4 1 1

2 1 1 1 1 1 1 1 1 1 4 2 2 2 1 2 2 1 1 2 3 2 1 2 2

5 2 2 3 4 4 5 2 3 4 1 4 3 4 1 4 1 2 2 2 4 3 4 2 1

2 1 1 1 1 1 1 1 1 1 3 3 3 1 1 3 1 1 1 4 3 4 4 3 1

3 2 3 2 2 2 3 2 3 2 4 3 3 4 2 5 4 4 4 3 3 3 5 4 4

4 4 5 4 3 5 5 3 5 3 1 4 3 4 2 4 1 2 3 4 3 3 4 4 3

3 3 2 1 2 2 3 2 2 2 4 4 3 3 1 4 3 1 1 1 5 1 4 4 1

GAS STATION 02 5 6 7 8

9 10 11 12 13 14 15 16 17 18 19

3 2 1 1 2 1 1 2 1 1 4 2 3 1 1 2 1 1 1 3 2 3 3 4 1

3 1 1 1 3 1 1 3 1 2 4 3 2 3 2 2 4 1 1 1 3 3 3 4 1

2 1 1 3 2 1 2 1 1 1 1 4 2 1 1 1 1 1 1 3 1 2 1 2 1

5 5 3 3 2 1 1 2 2 3 1 4 2 3 2 4 1 1 3 2 2 3 2 2 1

1 2 4 4 5 5 4 2 3 1 1 3 2 4 2 5 1 1 1 4 2 2 3 2 1

1 3 1 2 2 2 1 2 3 1 3 2 3 1 1 1 1 1 1 1 1 2 2 5 1

3 3 3 1 5 5 5 1 3 3 2 4 4 3 3 4 1 2 3 5 3 2 4 4 1

2 2 2 4 3 4 2 4 2 3 4 5 2 3 3 5 3 1 4 4 3 3 4 2 3

2 1 4 4 1 2 2 4 1 3 1 4 2 1 1 1 1 1 1 3 1 2 1 1 1

1 2 1 1 1 1 1 2 1 1 4 3 3 1 1 2 3 1 1 1 1 2 1 4 4

2 2 5 5 1 5 5 1 3 2 1 4 3 3 3 5 1 1 3 2 2 4 2 2 2

1 3 4 4 4 5 1 3 1 4 3 2 3 1 1 2 1 1 1 4 3 4 2 3 1

3 3 2 2 2 1 1 3 2 2 4 5 2 4 3 4 3 4 4 2 3 3 4 4 5

5 2 2 3 2 5 5 2 3 2 1 4 4 4 3 5 1 2 4 4 2 4 2 3 2

1 2 4 4 4 1 1 4 2 4 4 5 2 1 1 4 3 1 1 4 2 3 2 4 2

20 AP AN 3 3 2 1 1 1 2 2 3 2 1 4 3 3 1 5 1 1 2 2 2 2 4 2 2

22 18 21 21 16 21 24 15 15 14 37 30 27 22 15 29 27 16 16 21 35 30 34 26 20

33 29 29 28 28 36 37 23 34 24 10 40 29 29 15 37 10 14 19 29 23 21 40 22 15

20 AP AN 2 2 2 1 1 3 2 1 2 2 1 4 2 3 2 4 1 1 2 3 2 4 2 2 1

21 23 21 24 28 23 15 28 15 24 36 34 25 21 17 29 25 16 18 22 24 32 25 36 26

32 23 33 33 27 32 36 18 24 22 11 39 26 27 22 38 10 12 24 31 20 31 21 22 12

PANAS Emotion Participant Number

01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25

PANAS Emotion Participant Number

01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25

Clip 08 1

3 4

5 5 1 1 2 5 5 2 3 1 4 2 4 3 3 3 4 4 5 3 5 4 4 4 5

4 1 2 3 3 3 4 1 2 3 1 2 3 3 2 2 1 1 1 3 1 2 2 1 2

1 1 1 3 1 3 3 1 3 1 3 1 3 3 1 4 2 1 3 1 5 4 2 1 3

Clip 09

3 1 1 2 2 1 3 1 1 1 1 2 2 2 4 2 1 1 1 2 1 3 1 2 2

3 4

4 4 4 2 2 2 2 3 4 4 4 4 3 4 3 5 4 5 4 4 4 4 3 2 5

2 2 2 2 3 3 2 2 2 3 1 4 2 1 1 4 1 2 2 2 2 2 1 3 1

1 2 4 4 2 2 1 2 2 4 3 4 3 3 2 4 2 1 1 3 3 3 1 2 2

4 2 5 4 4 4 1 1 4 2 1 3 1 1 1 5 1 1 2 2 2 2 1 3 1

CLUB 01

5 6 7 8

9 10 11 12 13 14 15 16 17 18 19

1 1 3 2 2 2 2 2 3 1 4 1 3 1 1 1 1 1 1 2 4 2 3 3 1

1 2 2 2 1 5 1 1 4 1 4 1 3 3 2 1 3 1 4 2 5 4 4 1 1

4 1 2 2 1 2 4 1 2 1 1 1 1 1 1 1 1 1 1 3 1 2 1 1 1

2 2 2 1 1 1 1 1 2 1 1 1 2 1 2 2 1 1 1 1 1 3 1 1 1

2 2 2 1 1 5 1 1 2 1 1 2 1 3 1 1 1 1 1 4 4 2 1 1 1

CLUB 02

5 2 1 2 1 1 1 3 2 1 4 2 4 1 1 1 1 1 1 2 4 2 2 1 1

1 1 1 1 1 5 2 1 1 1 2 1 3 3 3 2 1 1 1 5 5 2 2 4 1

2 4 4 2 2 1 3 2 2 4 4 3 3 1 2 4 2 3 5 4 1 2 4 2 4

2 2 2 1 2 5 2 2 1 2 1 1 2 1 1 1 1 1 1 3 1 2 1 1 1

1 5 5 4 1 5 3 2 4 1 3 2 4 2 1 3 3 1 2 2 5 2 3 1 5

2 1 2 5 3 2 2 1 2 1 1 1 2 3 2 5 1 1 1 1 1 3 1 1 1

1 2 2 3 3 3 1 2 3 3 3 2 3 3 2 2 1 1 1 3 5 3 4 3 1

1 1 1 3 3 3 3 3 3 1 4 2 3 4 2 4 3 4 5 2 5 4 4 4 5

2 2 2 1 3 3 2 1 2 3 1 3 3 4 2 3 1 2 1 4 4 3 2 4 2

3 4 4 4 2 2 2 2 4 4 4 2 3 2 2 5 2 1 1 3 5 3 2 4 1

5 6 7 8

9 10 11 12 13 14 15 16 17 18 19

2 2 2 1 2 2 1 2 2 1 4 3 3 1 2 2 1 1 1 2 2 2 3 2 1

2 2 2 2 4 4 1 2 2 4 4 4 3 3 2 2 3 1 1 3 2 3 1 2 1

3 2 2 3 1 1 1 1 3 2 1 3 1 1 1 1 1 1 1 2 1 2 1 1 1

1 1 3 3 3 3 1 2 3 3 1 4 1 3 1 3 1 1 2 2 1 2 1 3 1

3 1 3 2 2 2 1 2 2 3 1 4 1 3 1 1 1 1 1 3 3 1 1 3 1

1 1 1 1 1 1 1 1 1 1 3 3 3 1 1 1 1 1 1 2 1 1 1 2 1

2 2 2 3 3 2 2 3 2 2 1 5 3 4 1 4 1 1 2 4 3 2 2 3 1

3 4 3 3 3 2 2 3 4 3 4 4 3 4 3 5 2 4 3 4 1 1 4 4 3

1 2 2 2 2 2 1 2 2 3 1 3 1 1 1 1 1 1 1 2 1 2 1 1 1

1 2 3 3 3 3 2 1 3 3 3 3 3 1 1 2 1 1 2 3 1 2 1 2 3

1 2 1 2 1 4 1 2 1 4 1 5 1 3 1 3 1 2 1 3 1 2 1 3 1

1 3 4 4 2 1 1 2 4 2 4 4 3 1 2 2 1 1 1 4 3 3 3 4 2

2 2 3 4 5 5 2 2 3 5 4 5 2 3 3 4 3 5 4 4 3 4 4 3 4

1 1 3 3 3 1 1 3 1 3 1 4 3 4 2 2 1 2 3 4 2 3 2 2 1

1 2 2 2 5 2 5 2 2 5 4 4 3 1 2 2 2 1 1 3 2 2 2 1 1

20 AP AN 1 1 3 3 3 2 1 3 3 2 1 1 2 2 2 3 1 1 1 2 1 4 2 2 1

21 27 24 26 18 30 24 20 31 18 37 18 33 23 17 28 22 18 28 24 44 30 32 24 27

23 14 19 20 20 29 22 13 18 16 11 15 21 23 20 22 10 11 10 28 20 26 14 18 13

20 AP AN 4 2 2 2 2 2 1 2 2 4 1 3 1 1 1 3 1 1 1 1 1 2 1 2

18 24 28 26 29 24 18 20 27 32 37 38 29 22 21 29 20 21 19 32 22 25 23 24 23

22 17 25 26 24 24 12 20 22 29 10 38 15 22 11 27 10 13 16 25 17 20 12 24 9

Participant Facial Deformation Response Catalogue Sample

009 - 29/11/2017 - 11:00 - 12:20 - MArch Studio

Clip 01 - Eraserhead (1977) Henryâ&#x20AC;&#x2122;s Walk Home

Clip 02 - Blue Velvet (1986) Visiting Ben

Clip 03 - Mullholland Drive (2001) A Dream At Winkies

009 - 29/11/2017 - 11:00 - 12:20 - MArch Studio

Clip 04 - Twin Peaks (2017) I Am The Arm

Clip 05 - Twin Peaks (2017) Dianeâ&#x20AC;&#x2122;s Second Reveal

Clip 06 - Twin Peaks (2017) The Woodsman Congregate

Clip 07 - Twin Peaks (2017) Interrogating Phillip Jefferies

009 - 29/11/2017 - 11:00 - 12:20 - MArch Studio

Clip 08 - Twin Peaks (2017) Origins of Evil

Clip 09 - Twin Peaks (2017) Audrey at the Roadhouse

019 - 13/12/2017 - 16:00 - 17:20 - MArch Studio

Clip 01 - Eraserhead (1977) Henryâ&#x20AC;&#x2122;s Walk Home

Clip 02 - Blue Velvet (1986) Visiting Ben

Clip 03 - Mullholland Drive (2001) A Dream At Winkies

019 - 13/12/2017 - 16:00 - 17:20 - MArch Studio

Clip 04 - Twin Peaks (2017) I Am The Arm

Clip 05 - Twin Peaks (2017) Dianeâ&#x20AC;&#x2122;s Second Reveal

Clip 06 - Twin Peaks (2017) The Woodsman Congregate

Clip 07 - Twin Peaks (2017) Interrogating Phillip Jefferies

019 - 13/12/2017 - 16:00 - 17:20 - MArch Studio

Clip 08 - Twin Peaks (2017) Origins of Evil

Clip 09 - Twin Peaks (2017) Audrey at the Roadhouse

021 - 18/12/2017 - 12:30 - 13:40 - MArch Studio

Clip 01 - Eraserhead (1977) Henryâ&#x20AC;&#x2122;s Walk Home

Clip 02 - Blue Velvet (1986) Visiting Ben

Clip 03 - Mullholland Drive (2001) A Dream At Winkies

020 - 18/12/2017 - 10:00 - 11:30 - MArch Studio

Clip 04 - Twin Peaks (2017) I Am The Arm

Clip 05 - Twin Peaks (2017) Dianeâ&#x20AC;&#x2122;s Second Reveal

Clip 06 - Twin Peaks (2017) The Woodsman Congregate

Clip 07 - Twin Peaks (2017) Interrogating Phillip Jefferies

020 - 18/12/2017 - 10:00 - 11:30 - MArch Studio

Clip 08 - Twin Peaks (2017) Origins of Evil

Clip 09 - Twin Peaks (2017) Audrey at the Roadhouse

024 - 26/12/2017 - 13:00 - 14:10 - Residence

Clip 01 - Eraserhead (1977) Henryâ&#x20AC;&#x2122;s Walk Home

Clip 02 - Blue Velvet (1986) Visiting Ben

Clip 03 - Mullholland Drive (2001) A Dream At Winkies

024 - 26/12/2017 - 13:00 - 14:10 - Residence

Clip 04 - Twin Peaks (2017) I Am The Arm

Clip 05 - Twin Peaks (2017) Dianeâ&#x20AC;&#x2122;s Second Reveal

Clip 06 - Twin Peaks (2017) The Woodsman Congregate

Clip 07 - Twin Peaks (2017) Interrogating Phillip Jefferies

024 - 26/12/2017 - 13:00 - 14:10 - Residence

Clip 08 - Twin Peaks (2017) Origins of Evil

Clip 09 - Twin Peaks (2017) Audrey at the Roadhouse

025 - 26/12/2017 - 13:00 - 14:10 - MArch Studio

Clip 01 - Eraserhead (1977) Henryâ&#x20AC;&#x2122;s Walk Home

Clip 02 - Blue Velvet (1986) Visiting Ben

Clip 03 - Mullholland Drive (2001) A Dream At Winkies

025 - 26/12/2017 - 13:00 - 14:10 - Residence

Clip 04 - Twin Peaks (2017) I Am The Arm

Clip 05 - Twin Peaks (2017) Dianeâ&#x20AC;&#x2122;s Second Reveal

Clip 06 - Twin Peaks (2017) The Woodsman Congregate

Clip 07 - Twin Peaks (2017) Interrogating Phillip Jefferies

025 - 26/12/2017 - 13:00 - 14:10 - Residence

Clip 08 - Twin Peaks (2017) Origins of Evil

Clip 09 - Twin Peaks (2017) Audrey at the Roadhouse

Therapist’s Guide to Positive Psychological Interventions 52 PANAS Scoring Sheet

Worksheet 3.1 The Positive and Negative Affect Schedule (PANAS; Watson et al., 1988) PANAS Questionnaire This scale consists of a number of words that describe different feelings and emotions. Read each item and then list the number from the scale below next to each word. Indicate to what extent you feel this way right now, that is, at the present moment OR indicate the extent you have felt this way over the past week (circle the instructions you followed when taking this measure) 1 Very Slightly or Not at All

2 A Little

__________ 1. Interested __________ 2. Distressed __________ 3. Excited __________ 4. Upset __________ 5. Strong __________ 6. Guilty __________ 7. Scared __________ 8. Hostile __________ 9. Enthusiastic __________ 10. Proud

3 Moderately

4 Quite a Bit

5 Extremely

__________ 11. Irritable __________ 12. Alert __________ 13. Ashamed __________ 14. Inspired __________ 15. Nervous __________ 16. Determined __________ 17. Attentive __________ 18. Jittery __________ 19. Active __________ 20. Afraid

Scoring Instructions: Positive Affect Score: Add the scores on items 1, 3, 5, 9, 10, 12, 14, 16, 17, and 19. Scores can range from 10 – 50, with higher scores representing higher levels of positive affect. Mean Scores: Momentary 29.7 (SD 7.9); Weekly 33.3 (SD 7.2) Negative Affect Score: Add the scores on items 2, 4, 6, 7, 8, 11, 13, 15, 18, and 20. Scores can range from 10 – 50, with lower scores representing lower levels of negative affect. Mean Score: Momentary 14.8 (SD 5.4); Weekly 17.4 (SD 6.2) Copyright © 1988 by the American Psychological Association. Reproduced with permission. The official citation that should be used in referencing this material is Watson, D., Clark, L. A., & Tellegan, A. (1988). Development and validation of brief measures of positive and negative affect: The PANAS scales. Journal of Personality and Social Psychology, 54(6), 1063–1070.

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6/3/2009 7:25:39 PM

Carney Landis Criteria