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'I'm there right now. Call me': Unstable identities and irregular distances from Raymond Chandler to David Lynch

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'I'm there right now. Call me': Unstable identities and irregular distances from Raymond Chandler to David Lynch. / Pavey, Alexander John.

In: Tropos: The Journal of Comparative Cultural Inquiry, Vol. 2, No. 1, 2014, p. 50-60.

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Pavey, Alexander John. / 'I'm there right now. Call me': Unstable identities and irregular distances from Raymond Chandler to David Lynch. In: Tropos: The Journal of Comparative Cultural Inquiry. 2014 ; Vol. 2, No. 1. pp. 50-60.

Bibtex

@article{1524df42a2524bb3b00f82dd6e498b86,
title = "'I'm there right now. Call me': Unstable identities and irregular distances from Raymond Chandler to David Lynch",
abstract = "David Lynch{\textquoteright}s Lost Highway (1997) and Raymond Chandler{\textquoteright}s The High Window (1942) each contain scenes in which ambiguous distances and fluid identities disorientate the protagonists. The principle of incrimination that underpins modern criminal investigation demands a rationalisation of time, space and identity. But these three categories can be undermined, intentionally by individual action, or inherently by the technologies and systems of modernity itself. In both Chandler and Lynch, audio-visual media, particularly the telephone, demonstrate the fragility of any rigid, rationalised conception of distance and proximity, undermining the possibility of the stable knowledge by which the detective might solve the case, and the accused might defend himself against incrimination. The particularly disorientating dynamics of relation experienced by Lynch{\textquoteright}s protagonists are also analogous to his subversion of cinematic narrative structure – in which the possibility of narrative closure constantly seems to both approach and recede.",
keywords = "incrimination, disorientation, urban space, crime narrative, audio technology",
author = "Pavey, {Alexander John}",
year = "2014",
doi = "10.14324/111.2057-2212.021",
language = "English",
volume = "2",
pages = "50--60",
journal = "Tropos: The Journal of Comparative Cultural Inquiry",
issn = "2057-2212",
publisher = "United Kingdom Society for Comparative Cultural Inquiry",
number = "1",

}

RIS

TY - JOUR

T1 - 'I'm there right now. Call me': Unstable identities and irregular distances from Raymond Chandler to David Lynch

AU - Pavey, Alexander John

PY - 2014

Y1 - 2014

N2 - David Lynch’s Lost Highway (1997) and Raymond Chandler’s The High Window (1942) each contain scenes in which ambiguous distances and fluid identities disorientate the protagonists. The principle of incrimination that underpins modern criminal investigation demands a rationalisation of time, space and identity. But these three categories can be undermined, intentionally by individual action, or inherently by the technologies and systems of modernity itself. In both Chandler and Lynch, audio-visual media, particularly the telephone, demonstrate the fragility of any rigid, rationalised conception of distance and proximity, undermining the possibility of the stable knowledge by which the detective might solve the case, and the accused might defend himself against incrimination. The particularly disorientating dynamics of relation experienced by Lynch’s protagonists are also analogous to his subversion of cinematic narrative structure – in which the possibility of narrative closure constantly seems to both approach and recede.

AB - David Lynch’s Lost Highway (1997) and Raymond Chandler’s The High Window (1942) each contain scenes in which ambiguous distances and fluid identities disorientate the protagonists. The principle of incrimination that underpins modern criminal investigation demands a rationalisation of time, space and identity. But these three categories can be undermined, intentionally by individual action, or inherently by the technologies and systems of modernity itself. In both Chandler and Lynch, audio-visual media, particularly the telephone, demonstrate the fragility of any rigid, rationalised conception of distance and proximity, undermining the possibility of the stable knowledge by which the detective might solve the case, and the accused might defend himself against incrimination. The particularly disorientating dynamics of relation experienced by Lynch’s protagonists are also analogous to his subversion of cinematic narrative structure – in which the possibility of narrative closure constantly seems to both approach and recede.

KW - incrimination

KW - disorientation

KW - urban space

KW - crime narrative

KW - audio technology

UR - http://discovery.ucl.ac.uk/1468909/

U2 - 10.14324/111.2057-2212.021

DO - 10.14324/111.2057-2212.021

M3 - Article

VL - 2

SP - 50

EP - 60

JO - Tropos: The Journal of Comparative Cultural Inquiry

JF - Tropos: The Journal of Comparative Cultural Inquiry

SN - 2057-2212

IS - 1

ER -

ID: 8244340