David Lynch is known for its surrealistic and bizarre spectacles in his films in and out of America which puzzle and disturb the viewers and yet force them to ponder on the underlying mystery and meaning of them. Multilayered and disjointed narratives of his films strike most of the viewers to get lost in his magical world or Lynchland. In order to fully apprehend his convoluted cinematic narrative, this article aims at unfolding the different layers of his postmodern award-winning film, Mulholland Drive (2001) and INLAND EMPIRE (2006). To achieve this goal, Brian McHale’s thoughts and notions associated with postmodern fiction’s characteristic dealing with foregrounding ontological narratives are chosen and used in this research. It is conclude that Mulholland Drive ’s and INLAND EMPIRE 's embedded narratives function as a reflection of the primary narrative or diegetic leading to the construction of abysmal worlds.

中文翻译：

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大卫林奇的穆赫兰道和内陆帝国中的迷宫和幻觉

大卫·林奇 (David Lynch) 以其在美国内外的电影中的超现实主义和奇异奇观而闻名，这些奇观让观众困惑和不安，但迫使他们思考其潜在的奥秘和意义。他的电影的多层次和脱节的叙述让大多数观众迷失在他的神奇世界或林奇兰。为了充分理解他错综复杂的电影叙事，本文旨在展开他的后现代获奖电影《穆赫兰道》（2001 年）和内陆帝国（2006 年）的不同层次。为了实现这一目标，本研究选择并使用了布赖恩麦克海尔与后现代小说处理前景本体论叙事特征相关的思想和观念。结论是穆赫兰道和内陆帝国