‘A Love Story in the City of Dreams’ ran the coy promotional tagline for David Lynch’s 2001 film Mulholland Drive. Since its release, this ‘love story’ – jagged, fragmentary, achronological – has inspired an overproduction of criticism focused on dream analysis. Central to such a mode of interpretation, one which separates content from form, which mines for content at the expense of considerations of form, is the distinction between those facets of the film’s narrative marked off as ‘fantasy’ and those marked off as ‘reality’. While these investigations have, in their way, been fruitful, they have also had the lamentable effect of rendering legible, reducing to a story, a work of art which, as a time-bound cinematic experience, deliberately resists the consolations of a linear narrative, amounts, in effect, to an anti-story that in its non-revelations, its silences, becomes time-less. And though inquiries into the formal features of Mulholland Drive have been made (by Jennifer Hudson (2004) and David Roche (2004), for instance), the ways in which Lynch employs narrative frustration and indeterminacy as a disorganising principle in his film have not been adequately explored. This article aims to redress the deficiency by examining Mulholland Drive as a film which, like its predecessor and, to some extent, progenitor, Ingmar Bergman’s Persona (1966), undermines its mysteries by foregrounding its own constructedness and historicity as an art object (in Lynch’s case, through a parodic treatment of the Hollywood system and noir aesthetics), which occludes and then collapses its narrative proliferations, subverting attempts at a definitive thematic reading, and which as a result establishes a temporality, an atemoporality, in which assertions of fantasy and reality are voided, and can only fall silent.

中文翻译：

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这不是电影：大卫林奇《穆赫兰道》中的叙事挫折、不确定性和沉默

“梦想之城的爱情故事”为大卫林奇 2001 年的电影《穆赫兰道》使用了腼腆的宣传标语。自发布以来，这个“爱情故事”——参差不齐、支离破碎、按时间顺序排列——引发了对梦境分析的过度批评。这种将内容与形式分开、以牺牲形式考虑为代价挖掘内容的解释模式的核心是电影叙事中标记为“幻想”的那些方面与标记为“现实”的那些方面之间的区别。 '。虽然这些调查以他们的方式取得了成果，但它们也产生了可悲的效果，使清晰易读，简化为一个故事，一件艺术品，作为有时限的电影体验，故意抵制线性叙事的安慰, 金额, 实际上, 一个反故事，在它的非启示中，它的沉默，变得没有时间。尽管已经对穆赫兰道的正式特征进行了调查（例如，詹妮弗·哈德森（Jennifer Hudson，2004 年）和大卫·罗奇（David Roche）（2004 年）），林奇在他的电影中运用叙事挫折和不确定性作为一种混乱原则的方式并没有进行了充分的探索。本文旨在通过将《穆赫兰道》作为一部电影来弥补这一缺陷，该电影与其前身以及某种程度上的前身英格玛·伯格曼的《女神异闻录》（1966 年）一样，通过将其自身的建构性和历史性作为艺术对象（在林奇的案例，通过对好莱坞系统和黑色美学的戏仿处理），它阻塞了它的叙事扩散，然后崩溃了，