La multiplicación de la identidad en Mulholland Drive de David Lynch y en la trilogía de la autorrepresentación de Maya Deren

Martínez López, Carolina
In 2017, fifteen years have passed since the European premiere of Mulholland Drive, by David Lynch, and it has been also the centenary of the birth of the filmmaker Maya Deren, both creators of their own universes and defenders of cinema as an art form. Although some comparative studies on their work have already been done, this article aims to study the phenomenon of representation and multiplication of identity in Lynch's film and in the so-called Trilogy of Self-Representation by Maya Deren. For this purpose, the proposed films have been analyzed cinematographically and conceptually, framing them within the trajectory of their creators and drawing similarities, in order to focus later on the representation they make of identity, taking us back to the evolution in human thinking about the perception and the limits of the 'self', to the autofiction and to the origin of the figure of the Doppelgänger in literature and cinema. After analyzing these films, it has been possible to conclude that the phenomenon is very similar in both filmmakers and that it can be ascribed to the different theories of contemporary thought regarding the perception of a complex identity. These films could also be described as 'polyphonic narrations' starring a multiple subject that inhabits a context of multiplied realities, context that is related to the two realities proposed by phenomenology, worlds between which Lynch and Deren ride ​
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