The analysis draws on Metz’s conceptualization for the cinematic diegesis, on Winters’ suggestion for the non-diegetic fallacy, and on Yacavone’s perspective where a cinematic work may choose to self-consciously draw attention to the processes by which it creates a world. The “Silencio club” scene creates a new meta-diegetic context and operates as a synecdoche of Lynch’s critique for the capitalist film industry. Through the deception of the senses (seeing and hearing), the director ad- dresses questions, such as: what we perceive is what really happens? What are the boundaries between fiction and reality? The separation of the sense of hearing from the sense of seeing gives birth to the notion that the what of representation as opposed to the how of representation creates new meanings and requires new tools for interpretation. The analysis focuses on the interaction of the semiotic visual and acoustic modes in the “Silencio Club” key-scene of the film. This paper discusses the ‘felt unity’ which characterizes the cinematic experience and the collapse of the traditional boundaries between diegetic and non-diegetic music. Lynch offers to audience an intricate experience when he unveils the cinematic conventions and builds a surrealistic world of non-linear narratives. David Lynch’s film Mulholland Drive (2001) has puzzled many viewers and film scholars con- cerning its narrative content and structure.
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