Returning, Recycling and Remixing: Cut-up and Collage in Twin Peaks: The Return

SPOILER ALERT. The new season of Twin Peaks (2017) was dubbed Twin Peaks: The Return by Showtime, hoping to differentiate the new series from ABC’s original show. Even if The Return was never meant to be the official title of the new season, it introduces some central points and motifs, from the nostalgic vibe and “the fear of letting go” to the eulogizing of dead actors, the yearning to return to a certain town, a certain atmosphere and a certain set of characters, and the inevitability of transformation and uncertainty. Those elements are introduced stylistically through a vivid use of recycling and remixing, where old material is repurposed and sampled, and where elements from other parts of Lynch’s filmography and all of film history are referenced and included in what soon develops into a kind of magnum opus or even a cultural compost heap. Andreas Halskov explores this use of recycling and remixing in The Return, arguing that the series is much more than a postmodern collage. If anything, Twin Peaks: The Return is a touching meditation on the eternal cycle of life and death, repetition and transformation.

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Facts

Screenplay: Andreas Halskov

Production and editing: Jan Oxholm

Thanks to Davey Morison Dillard and Morten Hammershøy Kølln.

For study purposes only.

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Excerpts from: Twin Peaks: The Return (2017) © Lynch/Frost, CBS/Showtime/Rancho Rosa Productions, The Elephant Man (1980) © Lynch, Studiocanal,  Six Figures Getting Sick (1966/1967) © Lynch, Absurda/Ryko, Twin Peaks (1990-1991)  © Lynch/Frost, ABC/CBS Home Entertainment, Blue Velvet (1986) © Lynch, De Laurentiis, Eraserhead (1977) © Lynch, Universal Studios Home Entertainment, Lost Highway (1997) © Lynch, Universal Studios Home Entertainment,  Kiss Me Deadly (1955) © Aldrich, Criterion, Stellar (1993) on By Brakhage © Brakhage/Criterion, 2001: A Space Odyssey © Kubrick, Warner Home Video, Dumbland (2002/2009) © Lynch, Scanbox Entertainment, Mulholland Dr. (2001) © Lynch, Criterion, The Grandmother (1970) © Lynch, Absurda, One Flew Over the Cuckoo’s Nest (1975) © Forman, Warner Home Video, Monty Python & the Holy Grail (1975) © Jones et al., Sony Pictures Home Entertainment, La Retour a la Raison (1923) © Ray, Golan, Twentieth Century Fox, Over the Top (1987) © Golan, Twentieth Century Fox.

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Andreas Halskov

Andreas Halskov (f. 1981). Cand.mag i filmvidenskab og engelsk med speciale i filmens lydside, ekstern lektor ved Københavns Universitet og adjunkt i engelsk og mediefag ved Egaa Gymnasium. Har undervist, holdt foredrag og udgivet artikler i diverse film- og medierelaterede sammenhænge (bl.a. i tidsskrifter som P.o.v., Cut!, AngloFiles, Soundvenue og Kosmorama). Har desuden bidraget med et kapitel om ”Tendenser og brudflader i moderne dansk reality-tv” til bogen MedierNu – Massemedier og meningsdannelse (Systime 2011) samt et kapitel om fejlæstetik i film til bogen Et fejlæstetisk univers (2011, red. Marie Boye Thomsen), foruden at have medforfattet og -redigeret bøgerne Fjernsyn for viderekomne – de nye amerikanske tv-serier (Turbine 2011, red. Jakob Isak Nielsen, Andreas Halskov og Henrik Højer) og Guldfeber – på sporet af Oscarfilmen (Turbine 2013, red. Andreas Halskov, Henrik Højer og Thomas Schwartz Larsen). Herudover har han bidraget til en kommende amerikansk antologi om The Walking Dead (red. John W. Morehead), og han har skrevet to monografier: Paradoksets kunst (Turbine, 2014) og TV Peaks: Twin Peaks and Modern Television Drama (Syddansk Universitetsforlag, 2015). Halskov har også fungeret som ekspert i diverse medier (fx DR2, P1, P3, P4, Radio 24/7, Tv2 News, Politiken, JP og Børsen), foruden at være fast filmekspert ved Tv2’s Go’morgen Danmark. Og han skriver også fast om film og tv på bloggen “Det røde rum”.