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This article explores different meanings of the word “expansion” as it produces effect in David Lynch’s oeuvre and specifically Industrial Symphony No. 1: The Dream of the Brokenhearted, a twofold artwork with crucial significance. First, Lynch’s oeuvre should be considered full-fledged intermedial, and not just cinematic and/or painterly. Yet, its intrinsic performativity should be positioned as a specific type of intermedial relationship within media practice without exactly forming an intermedial aesthetics per se. Second, the film version of Industrial Symphony No. 1 is an artistic expansion of the stage production and not an adaptation thereof. It paradoxically induces in the viewers both a media consciousness and what I consider to be a sensorial immersion in the artwork, corresponding to Gene Youngblood’s concept of “synaesthetic cinema” and how it is perceived by the audience. Third, the opening up of the viewers’ senses corresponds to the medium’s flaunting of its properties in the form of a Deleuzian flux I call the “becoming-cinematic”.
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David Lynch Intermediality Expanded cinema Synaesthesia Immersion Industrial symphony No. 1: The dream of the brokenhearted