The auteur genetics under James Incandenza — final cut, personal vision, the film as the maker's skull

echoes

Early text: "in the literal Cahiers du Cinema sense, an auteur" [sec. 7]; "I learned I would rather not make a film than make one where I don’t have final cut" [sec. 7, Lynch quoted]; Lynch's films are "expressions of certain anxious, obsessive, fetishistic, Oedipally arrested, borderlinish parts of the director’s psyche" [sec. 10]; Blue Velvet "a distinctively homemade film (the home being, again, D. Lynch’s skull)" [sec. 7].
IJ echo: James O. Incandenza as the novel's auteur — the optician-turned-après-garde-filmmaker whose filmography (endnote 24) reads as coded autobiography, the films as expressions of his own obsessions and family wounds (filmography-coded-message; incandenza-autobiography). Wallace's contemporaneous portrait of a real personal-vision auteur — final cut over money, the film as literally the maker's skull, the oeuvre as psyche — is the aesthetic template JOI is built on.
Weight: shared-preoccupation