GOOD MORNING ALL
David Lynch’s film, ‘Blue velvet’, a 1986 cult-classic, depicts the tale of a college student, Jeffrey Beaumont, who one day stumbles across a severed ear, leading him to start his own investigation, discovering the dark underworld that lies beneath the white picket fences and freshly mowed lawns of a seemingly normal suburbia. Through certain characters and events that take place during the film, Lynch explores the notion of a corrupted American Dream, However, to fully understand this, one must first be familiar with the American Dream itself. I define it as the exact essence of most American icons, an ideal aspiration one could achieve. Some might say it is the ability to buy and own ones home, fame, succession. But in actuality, the American Dream is named for its opportunity, for rugged individualism, freedom, the Jeffersonian principles of life, liberty and the pursuit of happiness. Creating a classic deconstruction of the American dream, Lynch is conveying a simple idea. Nothing is what it appears to be. We simply live in a world of illusion, where the grass is just a little too green, the people just a little too friendly. That under all of the perfection of a seemingly idealized lifestyle, in reality the true essence of the American dream, a dream steeped in the United States Constitution has, since its creation, been corrupted over time. Through psychoanalytical film theory, one can capture the essence of blue velvet itself and its relationship to reality and the individual viewer. Like the concept of the film theory, Blue Velvet stresses the viewers longing for a completeness which the film may appear to offer through identification with an image (in this case, the idealized small town), an image which is never anything but an illusion and the viewer is always split simply by virtue of coming into existence. This can be seen in the very first opening sequence, a scene adorned with slow motion shots of white picket fences, perfectly...
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