'Dumbland is a crude, stupid, violent, absurd series. If it is funny, it is funny because we see the absurdity of it all.' Fresh off the critical success of
Mulholland Dr. [
previously] in 2001,
David Lynch set out in 2002 to conquer the internet, creating a paywalled website to feature original content like his short film
Darkened Room, an anti-sitcom called
Rabbits, and the intentionally lowbrow
DumbLand.
Featuring animation, music, sound effects, and voice acting entirely by Lynch,
DumbLand is a black and white Flash animation series with a total running time of approximately half an hour.
A few notes on DumbLand from Lynch. [
Also previously: David Lynch's Weather Report] [
And super-previously.]
posted by shakespeherian
on Jun 20, 2011 -
14 comments
He doesn't do metaphors. He doesn't make Postmodern references to other art. He doesn't even know what his own work 'means.' Richard Kovitch on the failure of the Tate Modern's
recent symposium on David Lynch, which featured
Gregory Crewdson,
Louise Wilson,
Chris Rodley,
Parveen Adams,
Simon Critchley,
Roger Luckhurst,
Tom McCarthy (edited remarks
here), and
Sarah Churchwell and
Jamieson Webster (transcription
here), among others.
Write-up on Paris retrospective of Lynch's painting
here, which was collected into the book
The Air is On Fire.
posted by shakespeherian
on Jan 15, 2010 -
121 comments
"I would like to do better, to be better than I am". He's the French New Wave
maverick and Academy Award winner (
at 26, for his first short) who, to commemorate the tenth anniversary of the liberation of Auschwitz -- with considerable personal pain and the admission that "
no description, no picture can reveal the true dimension" of what happened in the camps -- made what François Truffaut called "
the greatest film ever made", duly
censored by French authorities. Four years later he baffled audiences with "
the first modern film of sound cinema",
shattering the rules of chronology to describe the “anguish of the future”: even if all he ever wanted was "
to stop death in its tracks"
(French language link),
only for one minute. But he is also the unabashed lover of
la bande dessinée who
learnt English by reading comic books and
in the Seventies dreamed (French language link) of making
"Spider-Man" into a movie (the Hollywood studios were not convinced), the
MGM old-school musical and
operetta nut so in love with design that "
half of the fashion photography of the past 40 years owes a debt" to him. Now,
Alain Resnais' new
work, just shown
at the Venice Film Festival where
his buddy David Lynch was awarded a lifetime achievement Golden Lion, is a French film
inspired by an
English play with 54 short scenes, music by the X-Files's Mark Snow. (more inside)
posted by matteo
on Sep 8, 2006 -
20 comments
Lost on "Mulholland Drive." At a film festival in Boulder, Roger Ebert dissects David Lynch's masterpiece frame-by-frame and comes to the conclusion that, well, he doesn't really come to a conclusion.
Or does he?
Meanwhile, the DVD was released last week and instead of a commentary track or funny bloopers, it came with a simple insert that provided "David Lynch's 10 Clues to Unlocking This Thriller." For the sake of space, I'll post them in the comments section and let's see if anyone out there can (or wants to) answer them.
posted by adrober
on Apr 16, 2002 -
58 comments
