The fictional world is not just a place for entertainment, but also a home where we cannot put emotions. Rather than wrestling with ourselves, we are more willing to watch the struggle between an actor and his moral laws. In order to promote the realization of this alternative, any movie or drama worth watching has the emotional element delicately planted on the tangible substance. For example, seeing a certain type of sound-absorbing wall panel with holes, we understand that we have entered a safe and dangerous dim area. These holes themselves have dark openings and seemingly irregular structures: the boundary between faults is not only porous, but can also force us into nothingness.
Both "Double Peaks" and "True Detective" are walking in the range of strange flowers, seeming to want to explore: What is in the sleeping heart of a person? Murder, betrayal, theft, and without a doubt some mysterious dreams of dead dogs. Most importantly, what separates the "smoothness" of a person's hard work from his original inner core? The case of Detective Marty Hart was used most of the time in "True Detective" to be alternately intimidated and exacerbated by the dark and wet Last Cole. He is nothing but a thin wall with holes.
The seemingly harmless substance, its neutral color and soft and deformable appearance, is an obvious manifestation of fear. Muffler, a substance designed to soften sharp tones, represents the first experience of slipping into madness inadvertently. Marty's two-sided nature is usually suppressed by his denial of its existence, but he is in danger of being aroused in Raster's "zero fat" hype. Marty wants to think of himself as a dog catcher in the murder world: this is just a job, a job that does not cause follow-up problems for a balanced person. Of course, the problem with Marty's self-view is that he doesn't know what to do with his darkest experience. In the end, he lied to everyone in his life, including himself. He is annoyed by Raster's eloquent personal monologues, which do not allow the distinction between light and darkness to be either one or the other. In this interrogation scene (In the third episode, Luster interrogates a robbery suspect with a scar on his face), Marty watches Luster analyze a suspect, and at the same time he begins to inadvertently reflect on his shaking self conscious. Is he a good man who cares for his family, or a liar and alcoholic with guns? As long as his secrets are not disclosed to the public, can he continue to play these roles? (He is leaning against in the stills) This silent wall is a declaration of his inner suffering, and it is also a manifestation of some kind of emotional disturbance throughout the show.
In the episode of "Lola's Secret Diary" in "Twin Peaks", the perforated silencer is used for the same emotional effect. In this scene, the audience is blocked in front of the ruthless material, and in a rotating lens, it penetrates into a dark, rough hole and enters an interrogation room, where Li Lan (the painful father of the deceased Lola) is confessing to herself He firmly believes that he killed his daughter. Everything around this scene brings the audience into Li Lan's pain, who has been disrupting the boundary between normal and insanity for a long time. The screaming achromatic background music is like an invitation, coming from all the sounds absorbed by the silencer and Li Lan’s memory, while the (hole) constantly changing size (like in outer space-like a dirty underground The pipe-like a biota) contained his unpredictable madness. Before he started talking, we knew where he was, thanks to the "material journey" just passed. This also partly comes from the continuous rotation of the lens. By eliminating "up" and "down"
Looking at the drama as a whole, the use of the board merges into a more complex emotional structure, at the same time in a historical and cultural sense. Unlike "True Detective", which basically excludes any obvious absurdity, "Double Peaks" is completely an imaginary world in the extreme. The strong interest in coffee and cherry pie is given the same emotional weight as the murder in the old truck, and the audience can get strong feelings from these two extremes.
As a materially obsessed director, David Lynch's work is always focused on transforming familiar things into hysterical unknowns. "Twin Peaks" is particularly prominent among them, because it just imposes a primitive vision of human experience on the seemingly friendly mass production. The opening of the series is mainly occupied by a sawmill in production. From the first few seconds, we were signaled that production and materiality are indispensable parts of the story just like characters. This makes Li Lan's confession and the audience's deepening through the silencer hole at the same time a consumer experience, and also the most extreme and terrifying emotional experience that a person can bear. This mixture of ordinary and unfamiliar, realized in tangible matter, still resonates a quarter of a century after the show’s premiere. In this kind of performance, "True Detective" never gives up the opportunity to use abandoned industries as its background. Its opening is a speech to the industrial dream we just woke up from; every material use in the series is an echo of this decline. The muffler that Marty leans on absorbs anxiety and the failed plan of the entire society, and returns with silent darkness.
In daily life, we sleep on textiles, walk on asphalt roads, and put our weight on Fumi Plus, wood, and metal. We exhale into the pottery and look into the distance from the glass. Our life is not just a journey that takes place between objects, it is also a fine balance between clearly defined and only intuitively felt. The world of those fictional works is not only realized, but also uses the strong dramatic energy of matter to give us a real glimpse of our fleeting self.
Julia Ingalls: Material Witness: Insanity in the walls of "True Detective" and "Twin Peaks"
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