![]() ![]() This doubling frequently produces a temporal stretching – which I will term in this essay “heterochronicity” – that exposes other modes of knowing and perceiving in the crime-solving series. This paper traces outbursts of dancing movement in Twin Peaks in order to think otherwise about the series’ narrative sense-making, where dance doubles sense (as rational forms of knowledge such as causality) with sensation (how characters are seized by affects and physical expression in ways that exceed what they can rationally be said to know, sometimes even by emotions that do not properly belong to them). The Man from Another Planet’s (Michael J. Dance exists in an expanded field for Lynch, generating quirks in the narrative flow out of the eccentric movements of characters’ bodies and speech, where even the strange turns and extensions of words make micro-mouth-dances that double and derange the sensible communication of linguistic expression. INLAND EMPIRE’s (2006) delirious “Sinnerman” and “Locomotion” sequences draw on a reservoir of pure joy emerging from seriality and automation, signs of the generosity and re-compositional force of dance across this work. In Wild at Heart (1990), Sailor and Lula use spontaneous dance breaks like drugs, as with their roadside mood adjustment that seeks to expel the hateful litany of talk radio’s relentless bullshit in an explosive desert mosh pit to Slaughterhouse’s “Powermad”. In Eraserhead (1977), the Lady in the Radiator’s sly and squishy contraceptive shuffle fascinates and seduces a captivated Henry. Images of dancers and outbreaks of aberrant movement abound in his work. David Lynch is a filmmaker who holds a special place for dance in his movies. ![]()
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