Lost Highway: Interpreted but Never Explained
             The purpose of this essay is to explain the psychoanalytic and postmodern ideals portrayed in the David Lynch film "Lost Highway." His works are, for the most part, non-linear, absurd, chaotic and emotional. Lynch takes the rawness of human schizophrenia and attempts to create a world where everything happens at once. His visuals are a subconscious storm that evoke rather than render a concrete story.
             With this destruction of story there is also the destruction of the meta-narrative. Lynch creates an object of a story rather than the story itself. The creation of this destruction requires there to be a mental narrative, and like most stories in literature or cinema they are interpreted rather than told. The story is individual, and decoded by the individual. It is not whole, and the sense of completeness is lost on paper and screen; only to be recovered by the audience. To destroy the meta-narrative a meta-narrative has to be created. When the meta-narrative that destroys is created it is used as an object rather than a meta-narrative. Lynch creates this obscureness through portraying visions as a sub-conscious flow, and having almost all of the dialogue delivered in his movies in a sort of active subtext. By active subtext I mean the lines are used to specifically evoke subtext rather than carry the story forward with clear dialogue.
             In "Lost Highway," the idea of overlapping several ideas in one dimension is numerous. Fred Madison, portrayed by Bill Pulman, is a typical (yet frightfully complicated) noir anti-hero. He has been overcome by excess sex, violence, and depression in the non-linear nightmare-world of a misogynist-schizophrenic. The film makes use of several Oedipal themes, but they are over shadowed by the complexity of Fred Madison's troubled life. His troubles are mirror-like. A self-reflection seasoned with industrial sized s...