DOI: 10.7256/2454-0625.2023.5.40629

Abstract: The author of the work raises the question of the role of humor in the context of David Lynch's work. The author argues that the director's humor is one of the few conventional director's tools that can be categorized and studied in detail. The author explains this degree of “simplicity” of the director’s humor phenomenon by the author’s conscious strategy of introducing “known” elements into the works to establish communication with the viewer and their subsequent deconstruction to break the automatic perception and create a situation of “anxious viewing”. The author also explains the emergence of a situation of "anxiety" in Lynch's works by the fact that in the process of deconstruction the director mixes various discourses, connecting "funny" and "creepy", "known" and "unknown", "sublime" and "base". The key thesis of the work is the idea that humor, as Lynch's directorial tool, is used not only to entertain the audience or relieve them after dark scenes, but also to challenge their expectations, question classical narratives and explore taboo aspects of the human being experience. The object of the study is the cinema of David Lynch: films, series and short films of the director. The subject of the research is the phenomenon of humor in the context of David Lynch's creativity. The purpose of the work is to answer the question of how humor contributes to the processes of demythologizing a number of phenomena in American culture, deconstructing classic Hollywood narratives in the director's films and creating a sense of "anxiety" in the viewer. The novelty of the study lies in the conclusion of humor in a separate category and its separation from other strategies of the director: hyper-narratives, the process of absurdization of screen action, postmodern intertextuality.

DOI: 10.7256/2454-0757.2023.5.40667

Abstract: The author of the work raises the issue of the phenomenon of nomadism in the context of the work of the French director Alain Resnais. The object of the research is the early works of the director, such films as "Last year in Marienbad", "Hiroshima, my love", "I love you, I love". The purpose of the work is to answer the question of how nomadic strategies allow the author to create non-linear narrative structures, oscillating characters and flickering characters in his films, and how understanding these strategies can help viewers and researchers in the act of deciphering works. The author also analyzes a number of phenomena related to nomadism, such as the rhizome, the body without organs, deterritorialization, escape, flicker. The novelty of the research lies in the application of nomadic strategies to the cinema of Alain Resnais. This approach makes it possible to use the current philosophical and art history prism to study narrative structures, intraframe space and characters. The author argues that Rene's cinematography can be viewed through a position of resistance to forms of power - suppression and control - which manifests itself in the violation of traditional forms of narration and the creation of split characters. To study the mentioned aspects of Rene's work, the author resorts to the philosophy of Gilles Deleuze and Felix Guattari. The author also explains the position of the modern viewer and describes the strategies of looking, which can lead to a state of pleasure from interacting with nomadic works.