Fantasy And Fantasy In Mulholland Drive

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As we contrast the first part of the film with the second, it becomes evident that the first appears to be all the more genuine, more in keeping with our expectations concerning reality. But this feeling of reality results from the film's fantastic dimension rather than its realism. Where we usually contrast fantasy with reality, Mulholland Drive underlines the connection between the two, portraying fantasy's role in giving reality with the structure that it has. The film supports Lacan's claim that "everything we are allowed to approach by way of reality remains rooted in fantasy” (Stavrakakis 62). Hence fantasy should not be seen as opposed to reality because it is fantasy that sustains what we experience as reality. This idea that fantasy supports our sense of reality-is evident in Lost Highway and earlier Lynch films, and he uses fantasy as a major category or theme in almost all of his films.

The movie creates a sense of mystery and a sense of basic uncertainty that we normally connect with the element of desire. It uses darkness, threatening characters, ominous music and unusual editing sequences, all of which represents desire in a manner very typical of Hollywood narrative style. Desire is always associated with not knowing, posing questions that do not have answers, lack of narrative elements and confusing irrational series of random events. As Lacan speaks about desire in Seminar X, “as long as I desire, I know nothing of what I desire” (98). To depict this
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