Abstract

This article argues that the figure of the femme fatale, associated by feminist film critics with the epistemological drive of causal and patriarchal narrative, attains a progressive potential when portrayed through the complex narrative temporalities of David Lynch's Blue Velvet, Lost Highway, and Mulholland Drive.

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Additional Information

ISSN
2578-4919
Print ISSN
2578-4900
Pages
pp. 25-44
Launched on MUSE
2012-11-02
Open Access
No
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