Lo siniestro como condición y límite del MRI. A propósito de David Lynch

Abstract

This Doctoral thesis examines Freud’s concept of the uncanny and highlights the anguish and uncertainty it evokes. Both these features are already present in Heidegger’s precursory resolution. The initial hypothesis is that the uncanny breaks or suspends the Institutional Modes of Representation (IMR), and represents its limit and condition. To test this idea, the second part of this research analyses how this phenomenon is suggested in Hollywood productions by studying case study films from different times and genres. The third part focuses on how the uncanny is portrayed in David Lynch’s work, up until his two most recent films: Mulholland Drive (2001) and Inland Empire (2006). In them, the uncanny is laid radically bare by deconstructing the hegemonic mode of representation within the film itself.