Özet:

The analysis of David Lynch films has been dealt with quite a lot from various points of view. Given the tendency of Lynch’s cinema to destabilize concepts of reality through the predominance of dreamlike imagery, psychoanalytically oriented critics have seen these films as advocates of unconscious desire and fantasy processes. Feminist critics have focused on the controversial gender dynamics they see in his films, that is, their problematic approach to the female body as the target of male Oedipal sadistic impulses. Another widespread critical trend sees Lynch’s cinema as a spectacle of postmodern irony and a pastiche-like interpretation of American culture. Unlike the aforementioned critical approaches, in this study, the power of affective events in Lynch films is pointed out and a philosophical evaluation is made in the context of Gilles Deleuze's crystal image theory. In this direction, the possibilities of cinematic philosophy and the image indicators discussed by Deleuze throughout his cinema books were used. Lynch reconstructs cinematic ontology and the ontology of the unconscious in terms of affect rather than representation. His films trace the process in which the virtual detaches itself from the reality of the actual and becomes valid for itself thanks to its own affective power. In this section, Lynch's films, Lost Highway (1997), Mulholland Drive (2001) and to a lesser extent Blue Velvet (1986) are noteworthy of cinematic ontology; are discussed as examples that prioritize emotional-performative intensities over cognitive, representational, or moral certainties. A radical notion of the unconscious as a productive force freed from the constraints of representation is identified in these films.

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