Last Year at Mulholland Drive: Ambiguous Framings and Framing Ambiguities by Willemsen Steven, Kiss Miklós

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The Monstrous Mark of Cinema: Mulholland Drive, Spherology, and the “Virtual Space” of Filmic Fiction by James Dutton

“…This article interprets David Lynch's Mulholland Drive (2001) to argue for the morphological influence cinematic images have on modernity's monstrous identity. …”
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Cauchemar Bleu Lynchéen. Analyse d’un jeu d’objets « plastiques » dans Mulholland Drive by Pavel Cazenove

“…Dans Mulholland Drive de David Lynch, plusieurs objets – dont une mystérieuse boîte bleue et une (double) clé de même couleur – prennent une dimension irréelle, fantastique, étrangement inquiétante, par le simple fait de leurs spécificités plastiques. …”
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Mental health support through transcendental cinema. “Mulholland Drive” By D. Lynch as an example of a mindfulness meditation session by J. K. Nowocień, N. Szejko

“…Methods This work is based on the film “Mulholland Drive” by D. Lynch and the understanding of transcendental cinema according to Paul Schrader. …”
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David Lynch’s Los Angeles: Control and Liberation through the Cinematic Image by Jakob Jurisch

“…Lynch’s cinematic outings, such as the neo-noir Lost Highway (1997), the acclaimed Hollywood fantasy Mulholland Drive (2001), and the experimental nightmare Inland Empire (2006), are all set in the heart of the film industry, in Los Angeles, and reveal his most ambitious vision yet: to examine the hierarchies of images in American pop-culture, providing a space in which dreams and nightmares routinely, yet subtly, intersect. …”
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Consilient Discrepancy: Porosity and Atmosphere in Cinema and Architecture

“…Another example would be David Lynch’s labyrinthine existential settings, constituted of interminable slippages between indeterminable and infinitely potentialized spaces of dreams, imagination, memory and reality (Mulholland Drive, 2001). Likewise, we could cite Michael Hanake’s persistent displacement of causality and verisimilitude through ambiguous narrative viewpoints (Caché, 2005), and Roy Andersson’s radically liminal settings and characters whose lives constitute larval pre- and/or post-human states of existence (A Pigeon Sat on a Branch Reflecting on Existence, 2014). …”
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