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The present article deals with the relationship between temporality and (materiality of) surface in Twin Peaks. Based on some observations of Lynch’s play with the dimensions of surface and depth, it is shown how a specific temporality is inscribed into the surfaces already in the first minutes of the pilot episode (S1.E1), which is essentially owed to their materiality, their layers, and folds. This procedure represents an iconographic constant of the series and is also taken up again in the third season, but here with a decisive difference in repetition: Lynch re-stages familiar shots from the first two seasons and lingers extensively on the wrinkled skin, the gray hair, the fact that the actors have aged. In doing so, he sets a counterpoint to an otherwise mystically circular, even fluid understanding of time, which reaches its climax in Twin Peaks: The Return.

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“Do you recognize me?”—Remarks on the Temporality of the Surface in Twin Peaks

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  • 发表日期：

    2025年

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  • Nora Weinelt

摘要

The present article deals with the relationship between temporality and (materiality of) surface in Twin Peaks. Based on some observations of Lynch’s play with the dimensions of surface and depth, it is shown how a specific temporality is inscribed into the surfaces already in the first minutes of the pilot episode (S1.E1), which is essentially owed to their materiality, their layers, and folds. This procedure represents an iconographic constant of the series and is also taken up again in the third season, but here with a decisive difference in repetition: Lynch re-stages familiar shots from the first two seasons and lingers extensively on the wrinkled skin, the gray hair, the fact that the actors have aged. In doing so, he sets a counterpoint to an otherwise mystically circular, even fluid understanding of time, which reaches its climax in Twin Peaks: The Return.