Twin Peaks - Surrealism and Postmodernism

The Blend of Surrealism and Postmodernism

“Surreal” and “postmodern” are two of the most apt descriptors for Twin Peaks. Surrealism refers to the attempt to bridge the gap between the dream world and reality, often presenting illogical scenes and strange creatures, much like a dream. Postmodernism, on the other hand, refers to a skeptical interpretation of narratives, authority, and identity. It often includes elements of self-reference, parody, and the blending of different styles and narratives. Twin Peaks masterfully intertwines these two by taking the surreal elements seriously within its postmodern framework.

Surreal Epistemology in Twin Peaks

As Fredric Jameson pointed out, dream sequences alone do not make surrealism; it requires a connection with the unconscious. What is astounding about Twin Peaks is the way in which the protagonist, FBI Agent Dale Cooper, receives and interprets dreams. The most fascinating aspect is not just that he receives clues in his dreams but the way in which these dreams are accepted as a valid source of information. His dream involving the Red Room and the Man from Another Place proves pivotal to the investigation.

In episode three, Cooper's local colleagues, Sheriff Harry S. Truman and his deputies, do not question his unconventional methods. The characters within the show give equal weight to dreams and reality. This acceptance of a surreal epistemology within the diegesis blurs the lines between what the audience might accept as dream and reality.

The Evolving Nature of Dreams and Reality

As the series progresses, the boundary between dreams and reality becomes more porous. For instance, the Red Room is initially introduced as a part of Cooper’s dream, but later it is revealed that Laura Palmer had dreams about it too. This points towards the Red Room being more than just a figment of Cooper’s imagination; it is an intersubjectively accessible reality, further blurring the lines.

In another instance, Donna Hayward is helped by Mrs. Tremond and her grandson, only for them to be revealed as non-existent when Cooper tries to meet them. This plays with the viewers’ expectations and the conventional 'reality principle'. It creates a space of ambiguity, where the viewers are constantly questioning the cognitive and emotional realities presented to them.

The Rationalization of the Red Room

Towards the end of the series, the Red Room undergoes a transformation. What began as a surreal, dreamlike space evolves into a component of a parallel world called the Black Lodge. The plausibility and soundness of the Red Room and Cooper’s dream are woven into the narrative through references to Native American mythology, parapsychology, and extra-terrestrial elements.

However, this rationalization within the diegesis serves a dual purpose. On one hand, it provides an explanation that ties the Red Room to a broader mythology. On the other, it takes away some of the enigmatic and surreal qualities that made the Red Room so captivating in the first place.

Conclusion

Twin Peaks, in its majestic fusion of the surreal and postmodern, challenged the conventions of television and storytelling. By equating dreams with reality within its diegesis and playing with the viewer’s perception of both, it offered an immersive, thought-provoking experience. While some of its mysteries were given context within the show’s mythology, Twin Peaks will be forever celebrated for its innovative storytelling that blurred the lines between the dreamlike and the real, and for introducing audiences to a television experience unlike anything before.