{"id":4488,"date":"2025-04-03T15:29:26","date_gmt":"2025-04-03T14:29:26","guid":{"rendered":"https:\/\/ctalker.org\/?p=4488"},"modified":"2025-05-20T15:33:38","modified_gmt":"2025-05-20T14:33:38","slug":"kurbli-filmklub-david-lynch-utvesztoben-lost-highway","status":"publish","type":"post","link":"https:\/\/ctalker.org\/en\/2025\/04\/03\/kurbli-filmklub-david-lynch-utvesztoben-lost-highway\/","title":{"rendered":"Kurbli Filmklub: David Lynch-\u00datveszt\u0151ben \/Lost Highway"},"content":{"rendered":"\n

Szabadka\/2025.04.02.<\/p>\n\n\n\n

David Lynch: \u00datveszt\u0151ben (Lost Hughway), 1997, amerikai pszichothriller, 128 perc<\/p>\n\n\n\n

\u201eA magam m\u00f3dj\u00e1n szeretek eml\u00e9kezni, nem \u00fagy, ahogy t\u00f6rt\u00e9nt.\u201d \u2013\u00a0<\/em>Fred Madison<\/p>\n\n\n\n

A vid\u00e9ki Amerik\u00e1b\u00f3l Lynch meg\u00e9rkezik a m\u00e9g sz\u00fcrre\u00e1lisabb \u00e9s neurotikusabb LA-be, hogy n\u00e9z\u0151i elm\u00e9nket interakt\u00edv j\u00e1t\u00e9kba r\u00e1ntva, megmutassa ezredv\u00e9gi mut\u00e1ci\u00f3inkat; hogy a f\u0151szerepl\u0151kkel egy\u00fctt, mi is v\u00e9gigj\u00e1rjuk a l\u00e9lekveszt\u00e9s \u00fatveszt\u0151j\u00e9t. T\u00f6rt\u00e9nik mindez a film m\u00e9dium\u00e1nak \u2013 pl. multimedi\u00e1lis eszk\u00f6z\u00f6kkel \u2013 torz\u00edtott hat\u00e1s\u00fa kiterjeszt\u00e9s\u00e9vel (\u201etudatfilmesen diegetikus\u201d pop- \u00e9s ellenkult\u00far\u00e1lis zene haszn\u00e1lata, digit\u00e1lis k\u00e9pi \u00e9s elektronikus hangi elemek narrat\u00edv filmsz\u00f6vetbe strukt\u00far\u00e1l\u00e1sa), ami az azonosul\u00e1sra v\u00e1gy\u00f3 n\u00e9z\u0151i percepci\u00f3t izgatja \u00e9s a szubjektumot borzongat\u00f3 metafizikus utaz\u00e1sra viszi.<\/p>\n\n\n\n

\n
\"\"<\/figure>\n<\/figure>\n\n\n
\n
\"\"<\/figure>\n<\/div>\n\n
\n
\"\"<\/figure>\n<\/div>\n\n\n

K\u00e9rd\u00e9ses marad (az-e a k\u00e9rd\u00e9s?), hogy Lynch n\u00e9z\u0151be becsatorn\u00e1z\u00f3d\u00f3 nyomoz\u00e1st\u00f6rt\u00e9net\u00e9ben a szorong\u00f3 szem\u00e9lyis\u00e9g ism\u00e9tl\u0151d\u0151 fizikai, szellemi metamorf\u00f3zis\u00e1t az amn\u00e9zia id\u00e9zi el\u0151 vagy ford\u00edtva \u2013 mi volt el\u0151bb a ty\u00fak vagy a toj\u00e1s? Mert a patol\u00f3gi\u00e1s, poszttraum\u00e1s tudattalan lelki folyamatokban a k\u00eds\u00e9rtetek \u00e9s d\u00e9monok tov\u00e1bb \u00e9lnek \u00e9s a m\u00e1r mut\u00e1l\u00f3dott, \u00faj szem\u00e9lyis\u00e9get beteges hallucin\u00e1ci\u00f3kba \u00e9s t\u00e9veszm\u00e9kbe sodorhatj\u00e1k \u00fajra. Ennek megv\u00e1laszol\u00e1sa n\u00e9z\u0151i szubjektumunk \u00e9s az\u00a0\u00datveszt\u0151ben<\/em><\/strong>\u00a0\u00e9rtelmez\u00e9si keret\u00e9nek szempontj\u00e1b\u00f3l elt\u00e9r\u0151, de most ennyire ne szaladjunk el\u0151re. Lynch pszichothriller\u00e9nek \u00e9rtelmezhet\u0151s\u00e9g\u00e9t a posztmodern filmm\u0171v\u00e9szet saj\u00e1tos t\u00e9r-id\u0151 strukt\u00far\u00e1i seg\u00edtik, amelyek lehet\u0151v\u00e9 teszik a skizoid \u00e9s metamorf szem\u00e9lyis\u00e9g\u00e1talakul\u00e1sok mozg\u00f3k\u00e9pes megjelen\u00edt\u00e9s\u00e9t, nek\u00fcnk enn\u00e9l t\u00f6bb lehet\u0151s\u00e9g\u00fcnk is adatott, \u2026 pl. Lynch pozit\u00edv szellemis\u00e9g\u00e9nek \u00e9s kreativit\u00e1s\u00e1nak felismer\u00e9se.<\/p>\n\n\n\n

A limin\u00e1lis terek nemcsak a t\u00e9rbeli vagy id\u0151beli hat\u00e1r\u00e1tl\u00e9p\u00e9seket jel\u00f6lik Lynch filmjeiben, hanem az identit\u00e1sveszt\u00e9s \u00e9s \u00e1talakul\u00e1s kulcsfontoss\u00e1g\u00fa helysz\u00ednei is. A f\u0151szerepl\u0151k gyakran \u201ecsapd\u00e1ba esnek\u201d ezekben az \u00e1tmeneti \u00e1llapotokban, k\u00e9ptelenek tiszt\u00e1n l\u00e1tni saj\u00e1t sorsukat vagy szem\u00e9lyis\u00e9g\u00fck hat\u00e1rait. Lynch filmjeiben a limin\u00e1lis t\u00e9r nem puszt\u00e1n d\u00edszlet, hanem maga a t\u00f6rt\u00e9net sz\u00f6vet\u00e9nek r\u00e9sze: olyan k\u00f6zeg, amely nemcsak a karaktereket, hanem a n\u00e9z\u0151ket is egyfajta transz\u00e1llapotba helyezi, ahol a vil\u00e1g t\u00f6rv\u00e9nyei m\u00e1r nem egy\u00e9rtelm\u0171ek.<\/p>\n\n\n

\n
\"\"
Szarvas Szil\u00e1rd<\/figcaption><\/figure>\n<\/div>\n\n\n

A vet\u00edt\u00e9s ut\u00e1n Szarvas Szil\u00e1rddal besz\u00e9lget\u00fcnk, aki az SZTE film szak\u00e1n v\u00e9gzett. \u201eA K\u00e9k b\u00e1rsony a pszichoanal\u00edzis t\u00fckr\u00e9ben\u201d c\u00edmen \u00edrt tanulm\u00e1nya az OTDK verseny d\u00f6nt\u0151j\u00e9be jutott (https:\/\/www.apertura.hu\/…\/szarvas-a-kek-barsony-a…\/<\/a>).<\/p>\n\n\n\n

Saj\u00e1t r\u00f6vidfilmje az Innocence (https:\/\/www.youtube.com\/watch?v=SLsAZNOINTA<\/a>), mer\u00edt a Lynch filmek atmoszf\u00e9r\u00e1j\u00e1b\u00f3l, t\u00f6bb d\u00edjat is elvitt.<\/p>\n\n\n\n

Sz\u00e1sz Csongor<\/p>\n","protected":false},"excerpt":{"rendered":"

Szabadka\/2025.04.02. David Lynch: \u00datveszt\u0151ben (Lost Hughway), 1997, amerikai pszichothriller, 128 perc \u201eA magam m\u00f3dj\u00e1n szeretek eml\u00e9kezni, nem \u00fagy, ahogy t\u00f6rt\u00e9nt.\u201d \u2013\u00a0Fred Madison A vid\u00e9ki Amerik\u00e1b\u00f3l Lynch meg\u00e9rkezik a m\u00e9g sz\u00fcrre\u00e1lisabb \u00e9s neurotikusabb LA-be, hogy...<\/p>\n","protected":false},"author":3,"featured_media":4490,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","_themeisle_gutenberg_block_has_review":false,"footnotes":""},"categories":[6,8,9],"tags":[],"class_list":["post-4488","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-filmvetites","category-kurbli","category-kurbli-filmklub"],"featured_image_src":"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:600\/h:400\/q:mauto\/rt:fill\/g:ce\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2025\/05\/487455092_10237956437431435_6801991222105615088_n.jpg","featured_image_src_square":"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:600\/h:600\/q:mauto\/rt:fill\/g:ce\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2025\/05\/487455092_10237956437431435_6801991222105615088_n.jpg","author_info":{"display_name":"Kari","author_link":"https:\/\/ctalker.org\/en\/author\/karina\/"},"_links":{"self":[{"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/posts\/4488","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/comments?post=4488"}],"version-history":[{"count":2,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/posts\/4488\/revisions"}],"predecessor-version":[{"id":4495,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/posts\/4488\/revisions\/4495"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/media\/4490"}],"wp:attachment":[{"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/media?parent=4488"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/categories?post=4488"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/tags?post=4488"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}