Dream Interpretation of the Film Lost Highway Essay -- Lost Highway Mo

Dream Interpretation of the Film Lost Highway get a line Do you own a video camera? Renee No. Fred hates them. Fred I like to remember things my own way. Cop What do you mean by that? Fred How I remembered them. Not necessarily the way they happened. A dream bath mean everything, or it shtup mean nothing. According to Freud, if we take its circumscribe seriously, it has the potential to reveal things about ourselves that we scarcely believe could be true. precisely often the fragmented oddness of such a vision indemnification its credibility, and one is left wondering how something so disjointed could contain acumen of any value. Such is the dilemma with Lost Highway, a movie apparently bent on walking its viewers down one path, and then, when they stupefy to understand the nature of it all, to abruptly change course and begin anew. Hitchcocks MacGuffin - the endpoint he coined to refer to the apparent plot of a story, which is merely a cover for the und erlying, more definitive thread - is both irrelevant and racy in this film. The viewer will watch what is happening, trying to get a feel of the plot, but the plot, really, is unimportant. The very nature of plot demands a sense of linearity, and this movie lacks such a characteristic. However, the plot is also the most important aspect of the film, because, ultimately, almost everything each character does seems to be part of a dream in the straits of the central character, Fred Madison. Consequently, what happens is not merely unvarnished content to be brushed aside. Hidden within it is the latent content which will give the viewer an understanding of what is happening in the mind of this man. How do we know it is a dream and not merely pitiful story-telling? How do we know... ...on to detail complements this approach quite well. In either case, the printing works. One of the most difficult tasks in a movie is to allow the viewer inside the mind of one of its characters. This is much easier in literature, which can employ the faculties of narration and omniscience. In a film with no such leisure, a director must rely on images and dialogue alone(predicate) to accomplish this feat. To visually represent the emotions of a character can all be well-executed in a few distinct ways. One such, impelling way is to film the dreams and fantasies occurring in the mind of that character. Lynchs approach works, and Freds emotional and psychical states of being are clear, if the viewer can just look prehistorical the manifest to find the rich, latent content buried beneath.BibliographyGay, Peter, ed. The Freud Reader. New York W.W. Norton & Company, Inc., 1989.