Advertisement

“I’ll See You Again in 25 Years”: Paratextually Re-commodifying and Revisiting Anniversary Twin Peaks

  • Matt Hills

Abstract

Twin Peaks has often been considered as a work of art(house) TV (see, e.g., Lavery, “The Semiotics of Cobbler” and “Twin Peaks,” as well as K. Thompson and R. J. Thompson), but its status as a hyped and promoted commodity has been somewhat less well explored. This is something I will address here in relation to Twin Peaks’s pa ratexts as part of the show’s ongoing commodification, and especially its re-commodification at anniversary moments. Paratextual analysis (Genette) is something that has grown in relation to film/TV studies since the 2010 publication of Jonathan Gray’s Show Sold Separately. Official paratexts are the bits of publicity material that circulate around a text, but they can also include extratextual special features on a DVD or Blu-ray release, as well as audience-created content like fanfic that helps to carve “alternative pathways through texts” (Gray, Show Sold Separately 143). Gray notes that “some texts claim more paratexts than others, with… cult texts often sporting sizeable posses” ( Show Sold Separately 114), and Twin Peaks certainly accords with this. Indeed, a focus on paratexts has formed one fraction of scholarly work on the show. For example, Jim Collins has analyzed how:

The media blitz that surrounded the premiere of Twin Peaks is… a textbook example of the skillful manipulation of… discourses of cultural legitimation… The full-page ad that appeared in The New York Times the day the pilot premiered (6 April 1990) is a case in point. In bold, oversized letters we are told: “Twin Peaks—the series that will change TV,” according to Connoisseur magazine. Two evaluative criteria are reiterated throughout the glowing reviews quoted in the ad—a romantic-modernist glorification of originality and the shock of the new it produces, and an all-purpose notion of connoisseurship. (344)

Keywords

Cultural Legitimation Twin Peak Skillful Manipulation Miss Piece Cult Text 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Works Cited

  1. Ayers, Sheli. “ Twin Peaks, Weak Language and the Resurrection of Affect.” The Cinema of David Lynch: American Dreams, Nightmare Visions. Eds. Erica Sheen and Annette Davison. London: Wallflower Press, 2004. 93–106. Print.Google Scholar
  2. Booth, Paul. Digital Fandom: New Media Studies. New York: Peter Lang, 2010. Print.Google Scholar
  3. Brooker, Will. Using the Force: Creativity, Community and Star Wars Fans. New York: Continuum, 2002. Print.Google Scholar
  4. Burton, Bonnie. “‘Twin Peaks’ returns from the dead on Twitter.” CNet. CNet, April 22, 2014. Web. July 16, 2014.Google Scholar
  5. Collins, Jim. “Television and Postmodernism.” Channels of Discourse, Reassembled. Ed. Robert C. Allen. London: Routledge, 1992. 327–53. Print.Google Scholar
  6. Creeber, Glen. Serial Television: Big Drama on the Small Screen. London: BFI Publishing, 2004. Print.Google Scholar
  7. Duffett, Mark. Understanding Fandom. New York and London: Bloomsbury, 2013. Print.Google Scholar
  8. Genette, Gerard. Paratexts: Thresholds of Inter pret ation. Cambridge: Cambridge University Press, 1997. Print.Google Scholar
  9. Geraghty, Lincoln. Cult Collectors. London and New York: Routledge, 2014. Print.Google Scholar
  10. Gray, Jonathan. “Scanning the Replicant Text.” The Blade Runner Experience: The Legacy of a Science Fiction Classic. Ed. Will Brooker. L ondon: Wallf lower Press, 2005. 111–23. Print.Google Scholar
  11. ——. Show Sold Separately: Promos, Spoilers, and Other Media Paratexts. New York: New York University Press, 2010. Print.Google Scholar
  12. Gwynne, Owain. “Fan-Made Time: The Lord of the Rings and The Hobbit.Fan CULTure: Essays on Participatory Fandom in the 21st Century. Eds. Kristin M. Barton and Jonathan Malcolm Lampley. Jefferson, NC: McFarland, 2014. 76 –91. Print.Google Scholar
  13. Hastie, Amelie. “The Epistemological Stakes of Buffy the Vampire Slayer: Television Criticism and Marketing Demands.” Undead TV: Essays on Buffy the Vampire Slayer. Eds. Elana Levine and Lisa Parks. Durham, NC: Duke University Press, 2007. 74–95. Print.CrossRefGoogle Scholar
  14. Hayes, Marisa C. and Pieter Dom. “Fan Appreciation no. 2: Pieter Dom, founder and webmaster of WelcometoTwinPeaks.com.” F an Phenomena: Twin Peaks. Eds. Marisa C. Hayes and Franck Boul è gue. Bristol: Intellect, 2013. 50–53. Print.Google Scholar
  15. Hills, Matt. Triumph of a Time Lord: Regenerating Doctor Who in the Twenty-first Century. London: I.B. Tauris, 2010. Print.Google Scholar
  16. ——. “Anniversary Adventures in Space and Time: The Changing Faces of Doctor Who Commemoration.” New Dimensions of Doctor Who. Ed. Matt Hills. London: I.B. Tauris, 2013. 216–34. Print.Google Scholar
  17. Holdsworth, Amy. Television, Memory and Nostalgia. Basingstoke and London: Palgrave Macmillan, 2011. Print.CrossRefGoogle Scholar
  18. Howe, Andrew. “The Owls Are Not What They Seem: Cultural Artifacts of Twin Peaks.Fan Phenomena: Twin Peaks. Eds. Marisa C. Hayes and Franck Boulègue. Bristol: Intellect, 2013. 40–49. Print.Google Scholar
  19. Jenkins, Henry. “‘Do You Enjoy Making the Rest of Us Feel Stupid?’: alt. tv.twinpeaks, the Trickster Author, and Viewer Mastery.” Full of Secrets: Critical Approaches to Twin Peaks. Ed. David Lavery. Detroit, MI: Wayne State University Press, 1995. 51–69. Print.Google Scholar
  20. ——. Convergence Culture. New York: New York University Press, 2006. Print.Google Scholar
  21. Johnston, William M. Celebrations: The Cult of Anniversaries in Europe and the United States Today. New Brunswick, NJ: Transaction Publishers, 1991. Print.Google Scholar
  22. Kalviknes Bore, Inger-Lise, and Jonathan Hickman. “Continuing The West Wing in 140 Characters or Less: Improvised Simulation on Twitter.” Journal of Fandom Studies 1.2 (2013): 219–38. Print.CrossRefGoogle Scholar
  23. Lavery, David. “The Semiotics of Cobbler: Twin Peaks’ Interpretive Community.” Full of Secrets: Critical Approaches to Twin Peaks. Ed. David Lavery. Detroit, MI: Wayne State University Press, 1995. 1–21. Print.Google Scholar
  24. ——. “ Twin Peaks.Fifty Key Television Programmes. Ed. Glen Creeber. London: Arnold, 2004. 222–26. Print.Google Scholar
  25. Lewis, Luke. “Twin Peaks: 20 Years on This Supernatural Soap Is Still Celebrated.” TV & Radio Blog. The Guardian, October 22, 2010. Web. July 15, 2014.Google Scholar
  26. McClellan, Ann. “A Case of Identity: Role Playing, Social Media and BBC Sherlock.Journal of Fandom Studies 1.2 (2013): 139–57. Print.CrossRefGoogle Scholar
  27. Pheasant-Kelly, Fran. “Strange Spaces: Cult Topographies in Twin Peaks.Fan Phenomena: Twin Peaks. Eds. Marisa C. Hayes and Franck Boul è gue. Bristol: Intellect, 2013. 94–107. Print.Google Scholar
  28. Project Casting. “David Lynch’s ‘Twin Peaks’ Promo Acting Audition for Female Actress in Los Angeles.” Project Casting. Project Casting, January 2, 2014. Web. July 15, 2014.Google Scholar
  29. Rife, Katie. “Laura Palmer Is Dead, But Twin Peaks Is Alive Again on Twitter.” A.V. Club. A.V. Club, April 2, 2014. Web. July 18, 2014.Google Scholar
  30. Rodley, Chris, ed. Lynch on Lynch: Revised Edition. London: Faber and Faber, 2005. Print.Google Scholar
  31. Thompson, Kristin. Storytelling in Film and Television. Cambridge, MA: Harvard University Press, 2003. Print.Google Scholar
  32. Thompson, Robert J. “ Twin Peaks: From Art House to Our House.” Twin Peaks in the Rearview Mirror: Appraisals and Reappraisals of the Show That Was Supposed to Change TV. Eds. John Thorne, Craig Miller, and David Lavery. 2012. Kindle e-book.Google Scholar
  33. Todd, Anthony. Authorship and the Films of David Lynch. London: I.B. Tauris, 2012. Print.Google Scholar
  34. Twin Pie. “Twin Peaks Blu-ray Gets UK Release Date.” Welcome to Twin Peaks. Welcome to Twin Peaks, December 13, 2013. Web. July 15, 2014.Google Scholar
  35. ——. “25 Years Later, Paley Center and Welcome to Twin Peaks Present: A Damn Good Twin Peaks Screening.” Welcome to Twin Peaks. Welcome to Twin Peaks, March 13, 2014. Web. July 15, 2014.Google Scholar
  36. ——. “Enter The Lodge: A Fan-Written 3rd Season of Twin Peaks… On Twitter!” Welcome to Twin Peaks. Welcome to Twin Peaks, April 2, 2014. Web. July 15, 2014.Google Scholar
  37. ——. “How David Lynch Introduced the Missing Pieces from Twin Peaks: Fire Walk With Me, and Other Wonderful Things That Happened at the Twin Peaks Blu-Ray Launch Party.” Welcome to Twin Peaks. Welcome to Twin Peaks, July 17, 2014. Web. July 21, 2014.Google Scholar
  38. Uncredited. “Transcript Excerpt: Hanna Greenwood’s 2014 Interview with Dale Cooper—February 23rd, 2014.” Enter the Lodge. Enter the Lodge, February 23, 2014. Web. July 18, 2014.Google Scholar
  39. Van Krieken, Robert. Celebrity Society. London: Routledge, 2012. Print.Google Scholar
  40. Vinitzky-Seroussi, Vered. “‘Round Up the Unusual Suspects’: Banal Commemoration and the Role of the Media.” On Media Memory: Collective Memory in a New Media Age. Eds. Motti Neiger, Oren Meyers, and Eyal Zandberg. Basingstoke: Palgrave Macmillan, 2011. 48–61. Print.Google Scholar
  41. Williams, Linda Ruth. “Twin Peaks: David Lynch and the Serial-Thriller Soap.” The Contemporary Television Series. Eds. Michael Hammond and Lucy Mazdon. Edinburgh: Edinburgh University Press, 2005. 37–56. Print.CrossRefGoogle Scholar

Copyright information

© Matt Hills 2016

Authors and Affiliations

  • Matt Hills

There are no affiliations available

Personalised recommendations