| As a cultural motif,the Double has always been accompanied by the development of human civilization,but its core characteristics were determined in the Gothic literature of the 18 th century,and formed a literary paradigm,that is,similar physiological characteristics and different spiritual world,often in the form of twins,dual personality split,self reflection and so on.The frequent duality structure in David Lynch’s films has already formed an inherent film phenomenon that highlights his "Lynchism" artistic style.For example,Henry and weird babies in the first feature film "Rubber Head",Jeffery and Frank in "Blue Velvet",Leland and killer Bob in "Twin Peaks" series,Fred,Pete,Diana,Betty,Camilla and Rita in “Mulholland Dr”,and more.After a careful examination of David Lynch’s films,it’s not hard to find that the Double in Lynch’s films has not existed as an accidental means of creation,but throughout his entire film career,which has become the focus of "lynchian" aesthetics.This paper mainly discusses the phenomenon of Double in Lynch’s films from four aspects: the expression of Double theme,the shaping of characters,the construction of space and the social symptoms reflected,in order to reveal the key to the special experience of watching movies brought by Lynch films.The first chapter aims to analyze how the internal environment of things in his image expressions is broken by special dissident,and how the psychological sense presents a dual symbol by combing the three Double themes in Lynch’s films.When the Double is regarded as the inner phenomenon of Lynch’s films,the characterization and narrative strategy become an urgent problem.Because Double is first a structural reference to characters and their relationships,and secondly it is a narrative strategy at the textual level,so the second and third chapters of this article focus on these two aspects.The second chapter mainly explains Double as a role setting.Its essence is the other in the individual’s self-awareness.In Lynch’s films,it mainly shows three forms.Psychological and sociocultural interactions.The third chapter aims at explaining that the narrative strategy of Lynch’s film is a kind of space narrative rather than time narrative,and the construction of Double space shows Lynch’s deconstruction and subversion of the subjective narrative.The fourth chapter mainly discusses the socialsymptoms of the Double phenomenon,which is based on Lynch’s films.It tries to explore the development and innovation of the Double film from the perspective of culture,aesthetic and scientific development. |
