Due to a number of factors (some obscure, some all too obvious), I have not been feeling particularly motivated of late. Homework, jobs, and society have rather disturbingly fallen by the wayside in favor of… well, idleness I suppose (and Stumble, which is my new favorite pointless web gimmick: http://www.stumbleupon.com/, check it out!).
I went into this last weekend with every intention of checking out the ALA Midwinter Conference (you may have heard of it) and kicking off this blog with some unique insights into its function, purpose, and the society around it, as well the library profession in general. Instead, I half-assedly went at the last minute, “borrowing” a recent alum’s badge (I’m not naming any names, and besides you’ll never catch us!) and spending maybe an hour wandering around the exhibit hall picking up free comic books (and a WorldCat book-bag that might just be the niftiest thing ever).
I’m actually kind of glad that I didn’t try to make a bigger commitment to
All of this is to say that, as a second-term student here, I am definitely still trying to come to grips with the realities of the library world that I hope to inhabit and its less romantic sides. The combination of that and my general malaise (which is hitting too early in the term for my comfort) must be making for some very boring reading. So I’m gonna finish off with a couple paragraphs about David Lynch.
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As many of you are hopefully aware, auteur filmmaker David Lynch blessed
But what about
Caveat the first: If you’ve never seen a David Lynch film, view some his earlier works first. Start with Blue Velvet, go a little deeper with Mulholland Drive or Lost Highway (my favorite), take in some Twin Peaks for levity (but don’t watch Fire Walk With Me before you see the rest of the series!)
Caveat the second: This film is long: three hours and it feels every minute of that length. It’s fractured: any recognition of conventional storytelling techniques vanishes in the first hour. And, like all of Lynch’s movies, it is willfully obscure and, occasionally, unbearably intense.
That said, this is a deeply emotional and powerful work. Laura Dern gives a stunning and complex performance. And, if you’re willing to pay attention, to dig, to give yourself over to Lynch’s dream-logic, there is plenty of fascinating commentary on identity, fame, and the function of Film as a medium (Film with a capitol F). Lynch praises the power of Film and the potential for humans as emotional beings to see themselves and their lives in the stories that Film can bring us (along with us, a battered Polish hooker watches the action of the movie on a television screen, weeping). At the same time Lynch rails against the destructive forces of fame and the
Well, that’s the question, isn’t it? Even if I wanted to tell you what the film is about I’m not sure that I could, and to try to explain the film with any sort of certainty would be an injustice. This is a film, like most of Lynch’s, that demands that you put analysis aside and simply experience it. In my opinion, if you have the constitution and the fortitude, it is well worth the effort.