Abstract

The difficulties in watching David Lynch's Lost Highway stem from the unique way in which the film distinguishes between desire and fantasy. Whereas most films depict a seamless continuity between the two impulses, Lost Highway separates them, revealing how fantasy serves as a respite from the ambiguity of desire.

Additional Information

ISSN
2578-4919
Print ISSN
2578-4900
Pages
pp. 51-73
Launched on MUSE
2000-02-01
Open Access
No
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