STRANGE WORLD OF DAVID LYNCH - TRANSCENDENTAL IRONY FROM ERASERHEAD TO MULHOLLAND

Anyone who has watched Blue Velvet or experienced the dark and grainy world of Eraserhead knows that David Lynch's films pull us into a strange world where reality turns upside down and sideways. Lynch's films place form and content in a perpetuallyself-consuming dialogue, as he vacillates endlessly between Hollywood conventions and avant-garde experimentation, placing viewers in the awkward position of not knowing when the image is serious and when it's in jest, whether the meaning is lucid or if it's been irrevocably lost.
Irony exists in the gap between appearance and reality. In 'The Strange World of David Lynch', Eric G. Wilson, posits that Lynch, through his frequent use of irony, unsettles traditional ideologies and throws viewers into a relentless interpretive limbo.