One of the most distinguished filmmakers working today, David Lynch is a director whose vision of cinema is firmly rooted in fine art. He was motivated to make his first film as a student because he wanted a painting that “would really be able to move.” Most existing studies of Lynch, however, fail to engage fully with the complexities of his films’ relationship to other art forms. The Film Paintings of David Lynch fills this void, arguing that Lynch’s cinematic output needs to be considered within a broad range of cultural references.

Aiming at both Lynch fans and film studies specialists, Allister Mactaggart addresses Lynch’s films from the perspective of the relationship between commercial film, avant-garde art, and cultural theory. Individual Lynch films—The Elephant Man, Blue Velvet, Twin Peaks, Lost Highway, The Straight Story, Mulholland Drive, Inland Empire—are discussed in relation to other films and directors, illustrating that the solitary, or seemingly isolated, experience of film is itself socially, culturally, and politically important. The Film Paintings of David Lynch offers a unique perspective on an influential director, weaving together a range of theoretical approaches to Lynch's films to make exciting new connections among film theory, art history, psychoanalysis, and cinema.

作为当今最杰出的电影人之一，大卫-林奇是一位对电影的看法深深扎根于美术的导演。他在学生时代就有动力拍摄他的第一部电影，因为他想要一幅 "真正能够感动人的画"。然而，大多数现有的对林奇的研究，未能充分参与他的电影与其他艺术形式的复杂关系。大卫-林奇的电影画作》填补了这一空白，认为林奇的电影作品需要在广泛的文化参考范围内加以考虑。

针对林奇的粉丝和电影研究专家，Allister Mactaggart从商业电影、前卫艺术和文化理论之间的关系角度探讨林奇的电影。林奇的个别电影--《象人》、《蓝丝绒》、《双峰》、《迷途》、《直道》、《穆赫兰道》、《内陆帝国》--与其他电影和导演联系起来讨论，说明孤独或看似孤立的电影体验本身具有社会、文化和政治上的重要性。大卫-林奇的电影画作》为一位有影响力的导演提供了一个独特的视角，将一系列的理论方法与林奇的电影交织在一起，在电影理论、艺术史、精神分析和电影之间建立了令人兴奋的新联系。