TY - JOUR
AU - Alsop, Elizabeth
AB - “It’s No Longer Your Film”: Fictions of Authorship in Lynch’s Mulholland Drive elizabeth alsop It’s not like you set out to do a certain type of thing; the ideas tell you what it’s going to be, and by the time you realize what that is, it’s almost done. —David Lynch Of course, the director does not have full control over his work; this explains why the auteur theory involves a kind of decipherment, decryptment. —Peter Wollen in an e arly scene in david lynch’s Mul- etc.), as well as market forces without. At first holland Drive (2001), a young director named glance, then, Mulholland Drive might seem to Adam Kesher takes a meeting with the mys­ offer a rather conventional defense of auteur­ terious Castigliane brothers to discuss the ism, in the tradition pioneered by Cahiers du recasting of his current film. The brothers, who Cinéma critics and popularized abroad by An­ represent the film’s financial backer, slide a drew Sarris, among others. One might even be headshot across the table and inform Adam, tempted to see Adam’s movie­within­ a­movie “This is the girl.” He protests, but they insist. Fi­ as a film à clef , a fictional counterpart 
TI - “It’s No Longer Your Film”: Fictions of Authorship in Lynch’s Mulholland Drive
JF - Journal of Film and Video
DA - 2019-12-04
UR - https://www.deepdyve.com/lp/university-of-illinois-press/it-s-no-longer-your-film-fictions-of-authorship-in-lynch-s-mulholland-vF10fBM7DP
SP - 50
EP - 64
VL - 71
IS - 3
DP - DeepDyve
ER -