Plot Structure - Revision history

188.106.88.107: Undo revision 1653 by 76.107.28.247 (Talk)

188.106.88.107 — Wed, 12 Sep 2012 13:01:47 GMT

Undo revision 1653 by 76.107.28.247 (Talk)

←Older revision		Revision as of 13:01, 12 September 2012
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	Analysis of ''Lost Highway'''s plot structure treats the film in a linear fashion, considering the scenes in the order in which they appear in the film. However, the analyses of plot structure should remain neutral toward the different [[Theories of Lost Highway]], some of which may construct a chronology of events that is not restricted to the linear order of scenes in the film.		Analysis of ''Lost Highway'''s plot structure treats the film in a linear fashion, considering the scenes in the order in which they appear in the film. However, the analyses of plot structure should remain neutral toward the different [[Theories of Lost Highway]], some of which may construct a chronology of events that is not restricted to the linear order of scenes in the film.

-	~~4DvqwK I read online~~ (~~computer problems~~) ~~positive feedback~~ about ~~your resource. Didnt even believe~~ it, and ~~now saw myself~~. ~~It turned out~~ that I ~~was not fooled~~!...	+	== Thematic Development ==
		+
		+	One way to analyze ''Lost Highway'''s plot structure is to focus on the film's method of developing its central themes by repeating and reconfiguring thematic elements.
		+
		+	During the first third of the film,
		+
		+	* Fred is portrayed as suspecting that Renee is cheating on him (Fred's unanswered phone call home; Renee leaving the bar with Andy; Renee flirting with Andy at Andy's party)
		+	* Fred is portrayed as being frustrated with his inability to satisfy Renee sexually (Fred's and Renee's sex scene)
		+	* Renee is portrayed as concealing unseemly "skeletons in her closet" (Renee's nervousness about the first videotape, prior to viewing it; Renee's answer to Fred's question about the "job" that Andy told her about)
		+
		+	After the above themes build up to Fred murdering Renee, ''Lost Highway'' introduces doubles (Pete and Alice) while inverting key characteristics:
		+
		+	* Fred is an inadequate lover and middle-aged; Pete is a virile lover and young
		+	* Renee is sexually unsatisfied and brunette; Alice is sexually insatiable and platinum blonde
		+
		+	Through the doubles, implicit themes are made explicit:
		+
		+	* Alice is virtually possessed by another man (Dick Laurent/Mr. Eddy)
		+	* Pete is literally threatened by the possessive "other man" (Mr. Eddy threatens Pete with a gun; Mr. Eddy and the Mystery Man threaten Pete with death over the phone)
		+	* Alice is portrayed as a whore (Alice's answer to Pete's question about the job that Andy told her about; the scenes at Andy's house)
		+	* Pete kills the man associated with Alice's whorishness (Andy)
		+
		+	The doubles and their character inversions are then exposed as lies driven by the truth that she (Alice/Renee) eludes his (Pete's/Fred's) possession:
		+
		+	<blockquote>Pete: "I want you Alice."<br>
		+	Alice:"You’ll never have me."<br>
		+	(...Pete transforms into Fred...)<br>
		+	Fred: "Where's Alice?"<br>
		+	[[Mystery Man]]: "Her name is Renee! If she told you her name is Alice, she’s lying. And your name?... What the f*ck is your name?"</blockquote>
		+
		+	Reintroducing the original pair of Fred and Renee, the final section of the film recapitulates, synthesizes, and concludes the plot’s development (compare the following with the previous list of bullet points):
		+
		+	* Renee is with the possessive "other man" (Dick Laurent/Mr. Eddy) at the "Lost Highway Hotel"
		+	* Fred beats the possessive "other man" with a gun, while wearing his counterpart's virile clothes (Fred wears Pete's motorcycle jacket throughout the final section of the film)
		+	* Renee is portrayed as a whore (in the scenes at Andy's house shown on the handheld tv)
		+	* Fred kills the possessive "other man" (Dick Laurent/Mr. Eddy) with the help of the [[Mystery Man]]
		+
		+	Also see [[Psychogenic_fugue#Parallels_to_Lost_Highway:_musical_fugue\|Parallels to Lost Highway: musical fugue]] and [[Scene Analyses#Repetitions in Lost Highway\|Scene Analyses: Repetitions in Lost Highway]].

	== Freytag analysis ==		== Freytag analysis ==

188.106.88.107: Undo revision 1657 by 192.162.19.21 (Talk)

188.106.88.107 — Wed, 12 Sep 2012 13:01:19 GMT

Undo revision 1657 by 192.162.19.21 (Talk)

←Older revision		Revision as of 13:01, 12 September 2012
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	4DvqwK I read online (computer problems) positive feedback about your resource. Didnt even believe it, and now saw myself. It turned out that I was not fooled!...		4DvqwK I read online (computer problems) positive feedback about your resource. Didnt even believe it, and now saw myself. It turned out that I was not fooled!...

-	~~bIdWNF Hey~~, ~~thanks~~ for the ~~post~~.~~Much thanks again~~. ~~Really Cool~~.	+	== Freytag analysis ==
		+
		+	Though originally based on an analysis of five-act dramas, [http://en.wikipedia.org/wiki/Gustav_Freytag Gustav Freytag's] model of [http://en.wikipedia.org/wiki/Dramatic_structure dramatic structure] has been adopted, adapted, and applied to plot structures in various mediums and genres. [[Image:Freytagpyramid.png\|right\|thumbnail\|265px\|Freytag's pyramid]]
		+
		+	Freytag divided a dramatic structure into five components:
		+
		+	* Exposition (and inciting incident)
		+	* Rising action
		+	* Climax (or turning point)
		+	* Falling action (and resolution)
		+	* Dénouement
		+
		+	Freytag's model is sometimes represented visually as Freytag's Pyramid. One way to explain Freytag's model is as follows:
		+
		+	'''Exposition (and inciting incident)'''
		+	The exposition introduces the central characters and the central conflict of the story and ends with an inciting incident which set the remainder of the plot in motion.
		+
		+	'''Rising action'''
		+	During the rising action, the central conflict may be intensified, or may be complicated by the introduction of additional conflicts; additional obstacles that frustrate the protagonist's attempt to reach his or her goal; and/or additional antagonists, who may work with other antagonists or independently, by and for themselves.
		+
		+	'''Climax (or turning point)'''
		+	The climax, or turning point, marks the culmination of the central conflict for the protagonist and is typically characterized by the protagonist's effective or imminent success or defeat, a stalemate, a redefinition of the protagonist's goals, etc..
		+
		+	'''Falling action (and resolution)'''
		+	The falling action may unravel the aftereffects of the climax; the protagonist's additional conflicts; and/or the fate of additional antagonists or other characters. The falling action completes or ends with the resolution of the plot's conflicts and the characters' fates, whether in confirmed success or triumph, irreversible failure or loss, resignation, preparation for a new direction, etc..
		+
		+	'''Dénouement'''
		+	Some literary critics make no distinction between resolution and dénouement, in which case the resolution serves as the plot's dénouement. However, a dénouement may also portray one or more of the following: the aftereffects of the resolution; a final reflection on the protagonist, the central conflict, or its outcome; a recognition of the protagonist's virtues or flaws; a recognition of self-knowledge gained or lost; a recognition that the success achieved has an uncertain future or does not satisfy the protagonist as he or she had hoped; a celebration or mourning of the conflict's outcome; etc..
		+
		+	One way to apply Freytag's model to ''Lost Highway'' is as follows:
		+
		+	* Exposition (and inciting incidents): The exposition introduces Fred and Renee and explores their relationship, with Renee as the antagonist who prevents the fulfillment of Fred's desires. The inciting incidents are Renee's murder and Fred's transformation into Pete, though Fred's receiving the message that "Dick Laurent is dead" may also be considered an initial inciting incident.
		+	* Rising action: The rising action focuses on re-exploring the dynamics of Fred and Renee's relationship via the relationship between Pete and Alice, with Alice appearing not as an antagonist but as a fulfillment Pete's desires. The rising action also introduces Mr. Eddy as an antagonist for Pete in his relationship with Alice.
		+	* Climax (or turning point): The climax consists in the re-emergence of Alice as an antagonist at Andy's house and in the sex scene at the cabin, culminating in Alice's rejection of Pete's desire to possess her ("You'll never have me.") The desire for possession having ended in failure, Pete's transformation back into Fred marks a turning point, immediately after which the identities of Pete and Alice are revealed as lies by the [[Mystery Man]] ("Her name is Renee! If she told you her name is Alice, she’s lying. And your name?... What the f*ck is your name?").
		+	* Falling action (and resolution): During the falling action and resolution, Fred finds Renee with Laurent at the "Lost Highway Hotel", and Fred confronts and kills the antagonist Laurent with the help of the Mystery Man. On some interpretations of ''Lost Highway,'' the resolution may be considered to include the remainder of the film, ending with Fred's death. See
		+	* Dénouement: If the resolution is interpreted as ending with the murder of Laurent, Fred's return home and delivery of the message, "Dick Laurent is dead," may be interpreted as Fred's acquisition of self-knowledge and his simultaneous state of being condemned to the psychological cycle he has just completed. See

192.162.19.21: bIdWNF Hey, thanks for the post.Much thanks again. Really Cool.

192.162.19.21 — Fri, 09 Mar 2012 04:23:18 GMT

bIdWNF Hey, thanks for the post.Much thanks again. Really Cool.

←Older revision		Revision as of 04:23, 9 March 2012
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	4DvqwK I read online (computer problems) positive feedback about your resource. Didnt even believe it, and now saw myself. It turned out that I was not fooled!...		4DvqwK I read online (computer problems) positive feedback about your resource. Didnt even believe it, and now saw myself. It turned out that I was not fooled!...

-	~~== Freytag analysis ==~~	+	bIdWNF Hey, thanks for the post.Much thanks again. Really Cool.
-		+
-	~~Though originally based on an analysis of five-act dramas~~, [http://en.wikipedia.org/wiki/Gustav_Freytag Gustav Freytag's] model of [http://en.wikipedia.org/wiki/Dramatic_structure dramatic structure] has been adopted, adapted, and applied to plot structures in various mediums and genres. [[Image:Freytagpyramid.png\|right\|thumbnail\|265px\|Freytag's pyramid]]	+
-		+
-	~~Freytag divided a dramatic structure into five components:~~	+
-		+
-	* Exposition (and inciting incident)	+
-	* Rising action	+
-	* Climax (or turning point)	+
-	* Falling action (and resolution)	+
-	* Dénouement	+
-		+
-	~~Freytag's model is sometimes represented visually as Freytag's Pyramid. One way to explain Freytag's model is as follows:~~	+
-		+
-	~~'''Exposition (and inciting incident)'''~~	+
-	~~The exposition introduces the central characters and the central conflict of the story and ends with an inciting incident which set the remainder of the plot in motion.~~	+
-		+
-	~~'''Rising action'''~~	+
-	During the rising action, the central conflict may be intensified, or may be complicated by the introduction of additional conflicts; additional obstacles that frustrate the protagonist's attempt to reach his or her goal; and/or additional antagonists, who may work with other antagonists or independently, by and for ~~themselves.~~	+
-		+
-	~~'''Climax (or turning point)'''~~	+
-	~~The climax, or turning point, marks~~ the culmination of the central conflict for the protagonist and is typically characterized by the protagonist's effective or imminent success or defeat, a stalemate, a redefinition of the protagonist's goals, etc..	+
-		+
-	~~'''Falling action (and resolution)'''~~	+
-	The falling action may unravel the aftereffects of the climax; the protagonist's additional conflicts; and/or the fate of additional antagonists or other characters. The falling action completes or ends with the resolution of the plot's conflicts and the characters' fates, whether in confirmed success or triumph, irreversible failure or loss, resignation, preparation for a new direction, etc..	+
-		+
-	~~'''Dénouement'''~~	+
-	Some literary critics make no distinction between resolution and dénouement, in which case the resolution serves as the plot's dénouement. However, a dénouement may also portray one or more of the following: the aftereffects of the resolution; a final reflection on the protagonist, the central conflict, or its outcome; a recognition of the protagonist's virtues or flaws; a recognition of self-knowledge gained or lost; a recognition that the success achieved has an uncertain future or does not satisfy the protagonist as he or she had hoped; a celebration or mourning of the conflict's outcome; etc..	+
-		+
-	~~One way to apply Freytag's model to ''Lost Highway'' is as follows:~~	+
-		+
-	* Exposition (and inciting incidents): The exposition introduces Fred and Renee and explores their relationship, with Renee as the antagonist who prevents the fulfillment of Fred's desires. The inciting incidents are Renee's murder and Fred's transformation into Pete, though Fred's receiving the message that "Dick Laurent is dead" may also be considered an initial inciting incident.	+
-	* Rising action: The rising action focuses on re-exploring the dynamics of Fred and Renee's relationship via the relationship between Pete and Alice, with Alice appearing not as an antagonist but as a fulfillment Pete's desires. The rising action also introduces Mr. Eddy as an antagonist for Pete in his relationship with Alice.	+
-	* Climax (or turning point): The climax consists in the re-emergence of Alice as an antagonist at Andy's house and in the sex scene at the cabin, culminating in Alice's rejection of Pete's desire to possess her ("You'll never have me.") The desire for possession having ended in failure, Pete's transformation back into Fred marks a turning point, immediately after which the identities of Pete and Alice are revealed as lies by the [[Mystery Man]] ("Her name is Renee! If she told you her name is Alice, she’s lying. And your name?... What the f*ck is your name?").	+
-	* Falling action (and resolution): During the falling action and resolution, Fred finds Renee with Laurent at the "Lost Highway Hotel", and Fred confronts and kills the antagonist Laurent with the help of the Mystery Man. On some interpretations of ''Lost Highway,'' the resolution may be considered to include the remainder of the film, ending with Fred's death. See	+
-	* Dénouement: If the resolution is interpreted as ending with the murder of Laurent, Fred's return home and delivery of the message, "Dick Laurent is dead," may be interpreted as Fred's acquisition of self-knowledge and his simultaneous state of being condemned to the psychological cycle he has just completed. ~~See~~	+

76.107.28.247: 4DvqwK I read online (computer problems) positive feedback about your resource. Didnt even believe it, and now saw myself. It turned out that I was not fooled!...

76.107.28.247 — Thu, 29 Sep 2011 22:18:34 GMT

4DvqwK I read online (computer problems) positive feedback about your resource. Didnt even believe it, and now saw myself. It turned out that I was not fooled!...

←Older revision		Revision as of 22:18, 29 September 2011
Line 1:		Line 1:
	Analysis of ''Lost Highway'''s plot structure treats the film in a linear fashion, considering the scenes in the order in which they appear in the film. However, the analyses of plot structure should remain neutral toward the different [[Theories of Lost Highway]], some of which may construct a chronology of events that is not restricted to the linear order of scenes in the film.		Analysis of ''Lost Highway'''s plot structure treats the film in a linear fashion, considering the scenes in the order in which they appear in the film. However, the analyses of plot structure should remain neutral toward the different [[Theories of Lost Highway]], some of which may construct a chronology of events that is not restricted to the linear order of scenes in the film.

-	~~== Thematic Development ==~~	+	4DvqwK I read online (computer problems) positive feedback about your resource. Didnt even believe it, and now saw myself. It turned out that I was not fooled!...
-		+
-	~~One way to analyze ''Lost Highway'''s plot structure is to focus on the film's method of developing its central themes by repeating and reconfiguring thematic elements.~~	+
-		+
-	~~During the first third of the film,~~	+
-		+
-	* Fred is portrayed as suspecting that Renee is cheating on him (~~Fred's unanswered phone call home; Renee leaving the bar with Andy; Renee flirting with Andy at Andy's party~~)	+
-	* Fred is portrayed as being frustrated with his inability to satisfy Renee sexually (Fred's and Renee's sex scene)	+
-	* Renee is portrayed as concealing unseemly "skeletons in her closet" (Renee's nervousness about ~~the first videotape, prior to viewing~~ it~~; Renee's answer to Fred's question about the "job" that Andy told her about)~~	+
-		+
-	~~After the above themes build up to Fred murdering Renee~~, ~~''Lost Highway'' introduces doubles (Pete~~ and ~~Alice) while inverting key characteristics:~~	+
-		+
-	* Fred is an inadequate lover and middle-aged; Pete is a virile lover and young	+
-	* Renee is sexually unsatisfied and brunette; Alice is sexually insatiable and platinum blonde	+
-		+
-	~~Through the doubles, implicit themes are made explicit:~~	+
-		+
-	* Alice is virtually possessed by another man (Dick Laurent/Mr. ~~Eddy)~~	+
-	* Pete is literally threatened by the possessive "other man" (Mr. Eddy threatens Pete with a gun; Mr. Eddy and the Mystery Man threaten Pete with death over the phone)	+
-	* Alice is portrayed as a whore (Alice's answer to Pete's question about the job that ~~Andy told her about; the scenes at Andy's house)~~	+
-	* Pete kills the man associated with Alice's whorishness (Andy)	+
-		+
-	~~The doubles and their character inversions are then exposed as lies driven by the truth that she (Alice/Renee) eludes his (Pete's/Fred's) possession:~~	+
-		+
-	~~<blockquote>Pete: "~~I ~~want you Alice."<br>~~	+
-	~~Alice:"You’ll never have me."<br>~~	+
-	~~(...Pete transforms into Fred...)<br>~~	+
-	~~Fred: "Where's Alice?"<br>~~	+
-	~~[[Mystery Man]]: "Her name is Renee~~! ~~If she told you her name is Alice, she’s lying~~. ~~And your name?~~.~~.. What the f*ck is your name?"</blockquote>~~	+
-		+
-	Reintroducing the original pair of Fred and Renee, the final section of the film recapitulates, synthesizes, and concludes the plot’s development (compare the following with the previous list of bullet points):	+
-		+
-	* Renee is with the possessive "other man" (Dick Laurent/Mr. Eddy) at the "Lost Highway Hotel"	+
-	* Fred beats the possessive "other man" with a gun, while wearing his counterpart's virile clothes (Fred wears Pete's motorcycle jacket throughout the final section of the film)	+
-	* Renee is portrayed as a whore (in the scenes at Andy's house shown on the handheld tv)	+
-	* Fred kills the possessive "other man" (Dick Laurent/Mr. Eddy) with the help of the [[Mystery Man]]	+
-		+
-	Also see [[Psychogenic_fugue#Parallels_to_Lost_Highway:_musical_fugue\|Parallels to Lost Highway: musical fugue]] and [[Scene Analyses#Repetitions in Lost Highway\|Scene Analyses: Repetitions in Lost Highway]].	+

	== Freytag analysis ==		== Freytag analysis ==

Lhnavigator: /* Freytag analysis */

Lhnavigator — Sat, 02 Jun 2007 07:53:43 GMT

Freytag analysis

←Older revision		Revision as of 07:53, 2 June 2007
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	* Dénouement		* Dénouement

-	Freytag's model is sometimes represented visually as Freytag's Pyramid.	+	Freytag's model is sometimes represented visually as Freytag's Pyramid. One way to explain Freytag's model is as follows:

	'''Exposition (and inciting incident)'''		'''Exposition (and inciting incident)'''
Line 67:		Line 67:

	'''Dénouement'''		'''Dénouement'''
-	~~The~~ resolution ~~may serve~~ as the plot's ~~dénoument~~, or the ~~dénoument may a feature~~ a final reflection on the protagonist, the central conflict, or its outcome; a recognition of the protagonist's virtues or flaws; a recognition of self-knowledge gained or lost; a recognition that the success achieved has an uncertain future or does not satisfy the protagonist as hoped; a celebration or mourning of the conflict's outcome; etc..	+	Some literary critics make no distinction between resolution and dénouement, in which case the resolution serves as the plot's dénouement. However, a dénouement may also portray one or more of the following: the aftereffects of the resolution; a final reflection on the protagonist, the central conflict, or its outcome; a recognition of the protagonist's virtues or flaws; a recognition of self-knowledge gained or lost; a recognition that the success achieved has an uncertain future or does not satisfy the protagonist as he or she had hoped; a celebration or mourning of the conflict's outcome; etc..

-	~~Treating~~ ''Lost Highway''	+	One way to apply Freytag's model to ''Lost Highway'' is as follows:

-	* Exposition (and inciting incidents): The exposition introduces Fred and Renee and explores their relationship, with Renee as the antagonist who prevents the fulfillment of Fred's desires. The inciting incidents are Renee's murder and Fred's transformation into Pete, though Fred's receiving ~~that~~ message that "Dick Laurent is dead" may also be considered an initial inciting incident.	+	* Exposition (and inciting incidents): The exposition introduces Fred and Renee and explores their relationship, with Renee as the antagonist who prevents the fulfillment of Fred's desires. The inciting incidents are Renee's murder and Fred's transformation into Pete, though Fred's receiving the message that "Dick Laurent is dead" may also be considered an initial inciting incident.
-	* Rising action: The rising action focuses on re-exploring the dynamics of Fred and Renee's relationship via the relationship between Pete and Alice, with Alice appearing not as an antagonist but as ~~fulfilling~~ Pete's desires. The rising action also introduces Mr. Eddy as an antagonist for Pete in his relationship with Alice.	+	* Rising action: The rising action focuses on re-exploring the dynamics of Fred and Renee's relationship via the relationship between Pete and Alice, with Alice appearing not as an antagonist but as a fulfillment Pete's desires. The rising action also introduces Mr. Eddy as an antagonist for Pete in his relationship with Alice.
-	* Climax (or turning point): The climax consists in the re-emergence of Alice as an antagonist at Andy's house and in the sex scene at the cabin, culminating in Alice's rejection of Pete's desire to possess her ("You'll never have me.") The desire for possession having ended in failure, Pete's transformation back into Fred marks a turning point, immediately after which the identities of Pete and Alice are revealed as lies by the Mystery Man ("Her name is Renee! If she told you her name is Alice, she’s lying. And your name?... What the f*ck is your name?").	+	* Climax (or turning point): The climax consists in the re-emergence of Alice as an antagonist at Andy's house and in the sex scene at the cabin, culminating in Alice's rejection of Pete's desire to possess her ("You'll never have me.") The desire for possession having ended in failure, Pete's transformation back into Fred marks a turning point, immediately after which the identities of Pete and Alice are revealed as lies by the [[Mystery Man]] ("Her name is Renee! If she told you her name is Alice, she’s lying. And your name?... What the f*ck is your name?").
-	* Falling action (and resolution): During the falling action and resolution, Fred finds Renee with Laurent at the "Lost Highway Hotel", ~~Fred~~ and confronts and ~~murders~~ the antagonist Laurent with the help of the Mystery Man. On some interpretations of ''Lost Highway,'' the resolution may be considered to include the remainder of the film, ending with Fred's death. See	+	* Falling action (and resolution): During the falling action and resolution, Fred finds Renee with Laurent at the "Lost Highway Hotel", and Fred confronts and kills the antagonist Laurent with the help of the Mystery Man. On some interpretations of ''Lost Highway,'' the resolution may be considered to include the remainder of the film, ending with Fred's death. See
	* Dénouement: If the resolution is interpreted as ending with the murder of Laurent, Fred's return home and delivery of the message, "Dick Laurent is dead," may be interpreted as Fred's acquisition of self-knowledge and his simultaneous state of being condemned to the psychological cycle he has just completed. See		* Dénouement: If the resolution is interpreted as ending with the murder of Laurent, Fred's return home and delivery of the message, "Dick Laurent is dead," may be interpreted as Fred's acquisition of self-knowledge and his simultaneous state of being condemned to the psychological cycle he has just completed. See

Lhnavigator: /* Thematic Development */

Lhnavigator — Sat, 02 Jun 2007 07:42:17 GMT

Thematic Development

←Older revision		Revision as of 07:42, 2 June 2007
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	* Fred kills the possessive "other man" (Dick Laurent/Mr. Eddy) with the help of the [[Mystery Man]]		* Fred kills the possessive "other man" (Dick Laurent/Mr. Eddy) with the help of the [[Mystery Man]]

-	Also see [[Psychogenic_fugue#Parallels_to_Lost_Highway:_musical_fugue\|~~Psychogenic fugue:~~ Parallels to Lost Highway: musical fugue]] and [[Scene Analyses#Repetitions in Lost Highway\|Scene Analyses: Repetitions in Lost Highway]].	+	Also see [[Psychogenic_fugue#Parallels_to_Lost_Highway:_musical_fugue\|Parallels to Lost Highway: musical fugue]] and [[Scene Analyses#Repetitions in Lost Highway\|Scene Analyses: Repetitions in Lost Highway]].

	== Freytag analysis ==		== Freytag analysis ==

Lhnavigator: /* Thematic Development */

Lhnavigator — Sat, 02 Jun 2007 07:37:19 GMT

Thematic Development

←Older revision		Revision as of 07:37, 2 June 2007
Line 38:		Line 38:
	* Fred kills the possessive "other man" (Dick Laurent/Mr. Eddy) with the help of the [[Mystery Man]]		* Fred kills the possessive "other man" (Dick Laurent/Mr. Eddy) with the help of the [[Mystery Man]]

-	Also see [Psychogenic_fugue#Parallels_to_Lost_Highway:_musical_fugue\|Psychogenic fugue: Parallels to Lost Highway: musical fugue] and [Scene Analyses#Repetitions in Lost Highway\|Scene Analyses: Repetitions in Lost Highway].	+	Also see [[Psychogenic_fugue#Parallels_to_Lost_Highway:_musical_fugue\|Psychogenic fugue: Parallels to Lost Highway: musical fugue]] and [[Scene Analyses#Repetitions in Lost Highway\|Scene Analyses: Repetitions in Lost Highway]].

	== Freytag analysis ==		== Freytag analysis ==

Lhnavigator: /* Thematic Development */

Lhnavigator — Sat, 02 Jun 2007 07:36:21 GMT

Thematic Development

←Older revision		Revision as of 07:36, 2 June 2007
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	* Fred kills the possessive "other man" (Dick Laurent/Mr. Eddy) with the help of the [[Mystery Man]]		* Fred kills the possessive "other man" (Dick Laurent/Mr. Eddy) with the help of the [[Mystery Man]]

-	~~For more detailed analyses of the repetition and reconfiguration of thematic elements,~~ see [~~[Lost Highway~~#~~Musical~~\|Psychogenic ~~Fugue~~: ~~Musical~~]~~] below~~ and [~~[Lost Highway~~ Scene Analyses#Repetitions in Lost Highway\|~~Lost Highway~~ Scene Analyses: Repetitions in Lost Highway]].	+	Also see [Psychogenic_fugue#Parallels_to_Lost_Highway:_musical_fugue\|Psychogenic fugue: Parallels to Lost Highway: musical fugue] and [Scene Analyses#Repetitions in Lost Highway\|Scene Analyses: Repetitions in Lost Highway].

	== Freytag analysis ==		== Freytag analysis ==

Lhnavigator: /* Freytag analysis */

Lhnavigator — Sat, 02 Jun 2007 07:20:30 GMT

Freytag analysis

←Older revision		Revision as of 07:20, 2 June 2007
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	== Freytag analysis ==		== Freytag analysis ==

-	Though originally based on an analysis of five-act dramas, [http://en.wikipedia.org/wiki/Gustav_Freytag Gustav Freytag's] model of [http://en.wikipedia.org/wiki/Dramatic_structure dramatic structure] has been adopted, adapted, and applied to plot structures in various mediums and genres.	+	Though originally based on an analysis of five-act dramas, [http://en.wikipedia.org/wiki/Gustav_Freytag Gustav Freytag's] model of [http://en.wikipedia.org/wiki/Dramatic_structure dramatic structure] has been adopted, adapted, and applied to plot structures in various mediums and genres. [[Image:Freytagpyramid.png\|right\|thumbnail\|265px\|Freytag's pyramid]]
-		+
-	[[Image:Freytagpyramid.png\|right\|thumbnail\|265px\|Freytag's pyramid]]	+

	Freytag divided a dramatic structure into five components:		Freytag divided a dramatic structure into five components:

Lhnavigator: /* Thematic Development */

Lhnavigator — Sat, 02 Jun 2007 07:18:09 GMT

Thematic Development

←Older revision		Revision as of 07:18, 2 June 2007
Line 36:		Line 36:
	* Fred beats the possessive "other man" with a gun, while wearing his counterpart's virile clothes (Fred wears Pete's motorcycle jacket throughout the final section of the film)		* Fred beats the possessive "other man" with a gun, while wearing his counterpart's virile clothes (Fred wears Pete's motorcycle jacket throughout the final section of the film)
	* Renee is portrayed as a whore (in the scenes at Andy's house shown on the handheld tv)		* Renee is portrayed as a whore (in the scenes at Andy's house shown on the handheld tv)
-	* Fred ~~murders~~ the possessive "other man" (Dick Laurent/Mr. Eddy) with the help of the [[Mystery Man]]	+	* Fred kills the possessive "other man" (Dick Laurent/Mr. Eddy) with the help of the [[Mystery Man]]

	For more detailed analyses of the repetition and reconfiguration of thematic elements, see [[Lost Highway#Musical\|Psychogenic Fugue: Musical]] below and [[Lost Highway Scene Analyses#Repetitions in Lost Highway\|Lost Highway Scene Analyses: Repetitions in Lost Highway]].		For more detailed analyses of the repetition and reconfiguration of thematic elements, see [[Lost Highway#Musical\|Psychogenic Fugue: Musical]] below and [[Lost Highway Scene Analyses#Repetitions in Lost Highway\|Lost Highway Scene Analyses: Repetitions in Lost Highway]].