| Foreword and Acknowledgments | p. viii |
| Chrono-Lynch (From Six Figures to Fire Walk with Me) | p. 1 |
| A Film That Stays With You (Six Figures, The Alphabet, The Grandmother, Eraserhead) | p. 3 |
| The author and the work | |
| Childhood and parents | |
| An ideal world? First memories of the cinema | |
| First studies in painting. An express trip to Europe | |
| From painting to film painting. Six Figures | |
| Philadelphia's mark | |
| The Alphabet | |
| The Grandmother. Description and analysis: birth and parents | |
| The Grandmother (contd). Birth and death of the grandmother | |
| Life as an electrical assembly. The film as a first essay in cinematography | |
| Lynch and the AFI | |
| Lynch's favourite films and their supposed influences. Bergman, Fellini | |
| Favourite films (contd). Kubrick, Hitchcock, Wilder | |
| From the project for Gardenback to Eraserhead. Preparations for a feature film | |
| The story of Eraserhead | |
| The film's crew, actors and collaborators | |
| Shooting Eraserhead. Montage. Sound recording. Alan Splet. | |
| The first screenings. Last-minute cuts | |
| Eraserhead becomes a cult film. Ben Barenholtz | |
| The cinematographic style of Eraserhead: archaism | |
| The sound concept of the film. Continuity and discontinuity | |
| From The Grandmother to Eraserhead: an impossible death? | |
| Immobile Growth (The Elephant Man, Dune) | p. 45 |
| Lynch and Cornfeld. The Elephant Man project. Mel Brooks | |
| The historical John Merrick. The film adaptation | |
| Shooting and the crew. Photography. Sound design. Music | |
| The script of The Elephant Man | |
| Social difference in The Elephant Man. | |
| The actors | |
| Ritual theatre. Popular film. A film of faces | |
| The contribution of English actors. A film left to make itself | |
| The director's image and legend | |
| Propositions refused or without effect: Lucas, Coppola | |
| Dune the novel and its originality: ecology, psychedelics and onomastics | |
| Previous adaptation projects: Raffaella de Laurentiis | |
| Lynch's adaptation: obstacles and bold strokes. The religious theme. The genetic theme. The role of women. An essay in non-linear narration. The role of words. The 'generalised inner voice' | |
| Technical and creative collaboration in Dune | |
| Casting Dune | |
| Shooting and its problems | |
| Music and sound design. The film's reception. Its faults and distinctive tone | |
| The waking dream of an 'elected' being | |
| A film-maker of the immobile | |
| Welcome to Lynchtown (Blue Velvet, The Cowboy and the Frenchman, Twin Peaks) | p. 78 |
| Lynchtown, a base camp for the imagination | |
| Blue Velvet, an original script | |
| The film's actors: Kyle MacLachlan, Laura Dern, Isabella Rossellini, Dennis Hopper | |
| Photography and visual aims. Fred Elmes. Angelo Badalamenti. Sound design | |
| The mysteries of the script. Are Sandy and Dorothy the same woman? Real and fantasised parents | |
| The 'primal scene' of Blue Velvet. The depressed mother. 'Be alive. Do it for Van Gogh' | |
| Love letters from father to son | |
| Lynch's classic. His expression of love. The forever scene. Daily life transformed | |
| The Cowboy and the Frenchman | |
| Mark Frost. The Twin Peaks phenomenon. Different authors and directors | |
| Lynch and television | |
| The concept of the series | |
| Twin Peaks: the place. Who killed Laura Palmer? | |
| The characters of the series: are they all mad? Three categories | |
| An extraterrestrial being in Twin Peaks: Dale Cooper | |
| A mad world. An epic universe. The theme of comfort. A pool in the heart of nature | |
| The role of citations. A recreation of romanticism | |
| Tears in Lynch | |
| Music as a unifying element. The vertical axis. The register of murmuring | |
| The dead woman spoken about and the living woman who is forgotten | |
| Cine-Symphonies for Her (Wild at Heart, Industrial Symphony No. 1, Twin Peaks: Fire Walk with Me) | p. 114 |
| Lynch's 'artistic method'. The power of ideas. The author as filter | |
| In search of 'cine-symphonic' cinema. The project for Wild at Heart | |
| Barry Gifford's novel | |
| Lynch's adaptation. The principle of contrast | |
| Casting the film. Couples | |
| Different versions. An aura of violence. Visual style and sound design. Power and murmurs. Music | |
| The 'verbal rape' scene. Violence and innocence. Dream parents. | |
| A film of childhood. Marietta. Cut-ins and gusts. A fragile ballad in the night | |
| Industrial Symphony No. 1. The Dream of the Broken Hearted. Julee Cruise | |
| The project for Fire Walk with Me. Laura's past | |
| The film's script | |
| Twin Peaks in reverse. The theme of food | |
| Casting the film. Sound design. Music. Photography | |
| The film's reception. Where did the fire go? Putting one foot in front of the other. Surfaces and looming | |
| Return to The Grandmother. The unmythified woman. All-women-in-one. The interval between parallel worlds. Heaven or hell | |
| The romantic film-maker of our times | |
| Lynch-Kit (From Alphabet to Word) | p. 151 |
| Alphabet (alphabet) | |
| Body (corps) | |
| Chair (siege) | |
| Close (pres) | |
| Cord (corde) and Scissors (ciseaux) | |
| Curtain (rideau) | |
| Dark (noir) | |
| Dog (chien) | |
| Dream (reve) | |
| Ear (oreille) | |
| Eclipse (eclipse) | |
| End (bout) | |
| Erasure (effacement) | |
| Fence (cloture) | |
| Floating (flotter) | |
| Flow (flux) | |
| For ever (eternel) | |
| Garden (jardin) | |
| Group (groupe) | |
| Growing (grandir) | |
| Hut (cabane) | |
| Insect (insecte) | |
| Inside (dedans) | |
| Kit (kit) | |
| Link (lien) | |
| Log (buche) | |
| Lying (couche) | |
| Night (nuit) | |
| Open mouth (ouverte [bouche]) | |
| Pool (flaque) | |
| Power (puissance) | |
| Reaction (reaction) | |
| Scale (echelle) | |
| Setting (cadre) | |
| Smoke (fumee) | |
| Speech (parole) | |
| Stage (scene) | |
| Standing (debout) | |
| Surface (surface) | |
| Texture (texture) | |
| Void (vide) | |
| Whole (tout) | |
| Wind (vent) | |
| Word (mot) | |
| Bridge-Man (On the Air, Hotel Room, Lost Highway, The Straight Story, Mulholland Dr.) | p. 189 |
| Lynch-Doc | |
| Filmography | p. 225 |
| Annotated Bibliography | p. 237 |
| Index | p. 240 |
| Table of Contents provided by Ingram. All Rights Reserved. |
