Das Innere nach außen tragen - David Lynchs indirekte und kinematographische Transformation der Bacon'schen Figurenästhetik in "Lost Highway"
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Studienarbeit aus dem Jahr 2010 im Fachbereich Kunst - Fotografie und Film, Note: 1,7, Ludwig-Maximilians-Universität München (Institut für Kunstgeschichte), Sprache: Deutsch, Abstract: Der Name David Lynch evoziert seit den 1990er Jahren beim Arthouse-Film-Publikum stets ein bekanntes Gefühl des Unwohlseins, der Begeisterung oder des schieren Unverständnisses. Ursache dafür mag sein, dass die Filme des amerikanischen Regisseurs, der in den 50er Jahren in der kleinbürgerlichen Idylle aufwuchs und an der Pennsylvania Academy of Arts in Philadelphia Kunst mit Schwerpunkt Malerei studierte, dem Betrachter etwas zeigen, das mit objektiver Realitätswiedergabe nichts gemein hat. Selbst die weniger als experimentell geltenden Spielfilme (im Gegensatz zu seinen frühen, experimentellen Trick- und Kurzfilmen) bedürfen immer die Bereitschaft des Betrachters, sich auf das filmische Kunstwerk einzulassen und an einer subjektiven Seh-Erfahrung teilzuhaben. Alle Filme des "Kultregisseurs" sind bis auf wenige Ausnahmen Sinnbilder des Unheimlichen, sind schwer zugänglich und doch hochgradig eindrucksvoll - manche scheinen, wie Lost Highway (1997), Blue Velvet (1986) oder Mulholland Drive (2001) wie Studien der menschlichen Psyche, andere bieten mehr das Gesamtbild einer grotesken Verstrickung aus Hollywood-Genres wie dem Roadmovie und klassischen Stereotypen der Filmgeschichte, man denke an Wild at Heart (1990) oder The Straight Story (1999). Die filmischen Experimente, die in jedem Werk des Regisseurs zu finden sind, haben die unterschiedlichsten Ausgangspunkte. In den folgenden Kapiteln soll ein konkretes Beispiel aus Lost Highway dazu dienen, die Verarbeitung von Lynchs Vorbildern, von kulturhistorisch bekannten Zeichen und Formen, sowie ein zentrales Motiv seines OEuvres, der Deformation des menschlichen Körpers, aufzuzeigen und zu erörtern. Das zu diskutierende Element aus Lost Highway, einem Film, der nicht nur aus narrativer Sicht ein schwer durchschaubares Konvolut aus surre
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