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Thread: David Lynch Thread

  1. #1

    David Lynch Thread

    I didn't find a general thread pertaining to the man and his work (perhaps on the old site?). Anyway, I'll use this thread to post some snippets of writing I've done about Lynch and perhaps it'll spark some discussion. Please post your own thoughts. OH, also, beware of *spoilers*


  2. #2
    Use of Sound

    Lynch is a master at establishing mood through his ability to create an aural landscape in each one of his films. He does this not only through the use of non-diegetic sound (the soundtrack/score), but also through his attention to detail in the sounds that occur in each of his filmic worlds.

    One example would be Sailor Ripley's performance of Elvis Presley's "Love Me" in Wild at Heart. Lynch loves to use live performances in his films to break up the action and transport his characters (and viewers) to another place. In the context of this particular performance, Sailor and Lula have just been dancing crazily to a metal band when a man comes onto Lula. Sailor, having control over the band in some magical way, raises his hand and the band stops. He proceeds to confront the man, and we as viewers are nervous, since Sailor has a bad temper and tendency to overreact when challenged. Fortunately, the confrontation is a tame one, Sailor is clearly in control. At this point, the viewer breathes a sight of relief as the man is sent to the bar for a beer. The song that follows is further relief from our expectation for violence. Sailor asks the band, "y'all know this one" and they toss him a microphone to begin the song. I give all this context so that we might notice the drastic change in mood in the performance that follows.

    As soon as the song starts, we notice the reverb in the microphone has changed since last the lead singer was barking into it. Sailor breaks into a disembodied croon for his Lula, and the once raucous band serves as the back-up doo-wop singers. One notable aspect of the sound for the performance: Lynch uses girlish screams as a way to reference the past (they were not uncommon at a Presley concert), but also, by manipulating them, having them fade away into the sound of a strong, breathy wind, he creates an otherworldly aural effect. In the back of our minds, we wonder, is Lynch obsessed with this kitschy aspect of pop performance, or is he making a commentary on how ridiculous these screams are/were? Also, what part of the sound is coming from the on-screen world, and what part is being laid on overtop of the action? These questions are important, because it is this level of playful ambiguity in Lynch's films that make them so appealing. And in spite of our awareness of these questions (through Lynch's artifice), the screams, the reverb, Sailor's singing, and the complete change in mood fit together seamlessly in this scene. We are transported to a place where Sailor and Lula's love is left untouched by the evil, violence, and weirdness of the world (though perhaps the artificiality of the screams are a remnant of that).

    I would also argue (perhaps in another post) that it is Lynch's mastery of sound, as well as his visuals and editing that make the scene work so well. Without the careful juggling of all the elements, the musical number would come across as odd and stale. The magnificent tonal elements come from the sound, visuals, editing, etc.

    It is the many notable moments like this throughout Lynch's filmography that point clearly to a director who is no slouch when it comes to creating a wholly original, beautiful (and ugly) filmic world.

    For additional reference, I point to an article written by J.D. LaFrance, which covers how the sound, visuals, and editing all play off each other brilliantly in Blue Velvet.

  3. #3
    neurotic subjectivist B-side's Avatar
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    I'll be watching. Love me some Lynch.
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  4. #4
    What is best in life? D_Davis's Avatar
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    Sweet.

    I just posted this in the FT:

    I really like Dune. It's by far one of the more interesting SF book-to-film treatments, even if it is a bit of a mess. Through extensive internal monologues and thoughtful direction, Lynch captures the literary quality of great SF that many other filmmakers fail to. It's not a great film, but it is an ambitious and interesting failure, and I appreciate it.

  5. #5
    Not Knowing Whether to Laugh or Be Scared (or anything in particular) - Part 1

    Reacting with a wide range of feelings, sometimes simultaneously, might be exactly the point in a Lynch film. I'm taking my cue from Wake Forest English Professor, Eric G. Wilson, who wrote a book called The Strange World of David Lynch: Transcendental Irony from Eraserhead to Mulholland Dr.

    Here's the introduction from his web page:

    Anyone who has sat through the dark and grainy world of Eraserhead knows that David Lynch's films pull us into a strange world where reality turns upside down and sideways. His films are carnivals that allow us to transcend our ordinary lives and to reverse the meanings we live with in our daily lives. Nowhere is this demonstrated better than in the opening scene of Blue Velvet when our worlds are literally turned on their ears.

    Lynch endlessly vacillates between Hollywood conventions and avant-garde experimentation, placing viewers in the awkward position of not knowing when the image is serious and when it's in jest, when meaning is lucid or when it's lost. His vexed style in this way places form and content in a perpetually self-consuming dialogue. But what do Lynch's films have to do with religion? Wilson aims to answer that question in his new book, The Strange World of David Lynch.

    To say that irony (especially of the kind found in Lynch's films) generates religious experience is to suggest religious can be founded on nihilism. Moreover, in claiming Lynch's films are religious, one must assume that extremely violent and lurid sexual films are somehow expressions of energies of peace, tranquility, and love. Wilson illuminates not only Lynch's film but also the study of religion and film by showing that the most profound cinematic experiences of religion have very little to do with traditional belief systems. His book offers fresh ways of connecting the cinematic image to the sacred experience.
    I read this book to look into the ways in which David Lynch's films might provide a spiritual experience for viewers (tapping into my love of religion and film)! It seems that the ambiguity present in many of Lynch's films (such as Blue Velvet) may present a playground (of transcendental irony) for the viewer, not knowing whether to laugh, cry, be fearful, disgusted, etc. I don't have the book right in front of me at the moment, but if I could make a few stabs at what Wilson says about Blue Velvet in particular:

    Lynch is playing with themes of light and darkness. The ambiguity in the film comes into the film in terms of the idea of the virgin/whore. We have Sandy, the innocent high schooler, who is intrigued (as is Jeffrey Beaumont) by the darker underbelly of her town. We also have Dorothy, the night club singer engaged in sadomasochistic relationships, but who also is a mother. There are clear-cut archetypes at play here and within the same persons. However, as I just laid out, even the good (Sandy) is intrigued by the bad and the bad (Dorothy) is in some ways in the realm of the good as a mother figure. In the middle, Jeffrey Beaumont presents the ideal Lynchian hero, a man in between the "good" and the "bad", drawn to both sides, but unwilling to commit.

    As viewers, we identify with Jeffrey, and are forced to navigate the same waters, negotiating between the "good" and the "bad." Because the "good" and the "bad" are not always what they seem. This middle, "playful," position brings to mind apophatic theology (which I studied in college), in which God's relationship to the world is both a "yes" and a "no." God is the things we ascribe to him, because he created the world, but he is also not confined by our conceptions of goodness, beauty, justice, etc., because he transcends our reality. In order to do apophatic theology, you have to take up a playful position, Jeffrey's position, in which you cut through the conceptions (language) to find beauty, peace, etc. (of course, beauty and peace are also human conceptions, so this is troubling). This is more of a worldview thing than a prescription for action, and I certainly don't mean to suggest that I, Wilson, or Lynch, approve of Jeffrey's actions in dabbling in the culture of evil (in the town).

    I guess this is where it gets confusing for me. How would Wilson (or Lynch for that matter) respond to accusations that Lynch is revelling in the muck (violence, lurid sexuality, perversion) at the same time that Wilson makes a spiritual venture out of the experience of it? I certainly like Wilson's reference to apophatic theology as a way of looking at religion and film, but I feel slightly at pains applying it to Blue Velvet.

  6. #6
    What is best in life? D_Davis's Avatar
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    As a recording artist myself, it is Lynch's use of sound that I appreciate most of all. The music he has created along with Badalamenti and Neff is incredible, and the way Lynch incorporates sound into his films is masterful.

    His films have the best sounding telephone rings of all time. That one in Mulholland Dr. that reverberates into the music is a thing of absolute beauty.

  7. #7
    Scott of the Antarctic Milky Joe's Avatar
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    I am always in support of more Lynch talk. For the sake of things, here's my ranking of his features. Keep in mind that I love all of them. Still haven't seen Dune.

    1. Blue Velvet
    2. The Straight Story
    3. Eraserhead
    4. Inland Empire
    5. Fire Walk With Me
    6. The Elephant Man
    7. Lost Highway
    8. Mulholland Drive
    9. Wild at Heart
    ‎The severed arm perfectly acquitted itself, because of the simplicity of its wishes and its total lack of doubt.

  8. #8
    sleepy soitgoes...'s Avatar
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    Quote Quoting Milky Joe (view post)
    I am always in support of more Lynch talk. For the sake of things, here's my ranking of his features. Keep in mind that I love all of them. Still haven't seen Dune.

    1. Blue Velvet
    2. The Straight Story
    3. Eraserhead
    4. Inland Empire
    5. Fire Walk With Me
    6. The Elephant Man
    7. Lost Highway
    8. Mulholland Drive
    9. Wild at Heart
    Even keeping in mind that you love all his films, it is shocking to see Mulholland Dr. and Lost Highway so low.

  9. #9
    Not Knowing Whether to Laugh or Be Scared (or anything in particular) - Part 2

    FYI: I wrote the first paragraph before I had finished the television series, and by the second and third paragraphs, I had finished:

    The day after watching Twin Peaks: Fire Walk With Me, it occurs to me that it is entirely possible to be repelled and enthralled by the same film. Part of this is that I went into watching the film with a good 4/5ths of the television counterpart under my belt (I've made it up to Episode 15 or so in Season 2), and thus, I had experience with and interest in the context surrounding the film and its characters. But, the situation is much more complicated then that. For example, in FWWM, Lynch makes a film that deals with horrific subject matter (violence, incest, sexual perversion), and provides little room to breathe. Yet also uses genre techniques that I remember encountering in lighter, popcorn fare (horror genre scare techniques in the sound, visuals, and editing, as well as noirish backdrops and characters, and even the kind of melodramatic narrative and music found in soap operas.) On top of this is a supernatural element that I've now found in FWWM and Inland Empire, one that seems to be imbued with Lynch's spirituality. Can anyone else see the corollaries between the blissful endings of each film, which highlight an enlightened, or at least peaceful, state for the films' heroines), and the transcendental meditation that Lynch often refers to as a spiritual muse? The combination of dark themes, genre techniques (sorry, that's vague and probably not very helpful, I can go into more detail if needed), and yes, spirituality, make the film experience above all interesting, but also confusing, at least when it comes down to describing what's going on with my experience of the film.

    You know, after a bit more thought about FWWM, I think I'm being unfair to my experience if I say that I disliked the film (not that I enjoyed it either). Certainly, elements of the film are repellant, especially when viewed directly in comparison to the TV series. In the latter, the violence and dark undertones are hinted effectively for conveying what's at stake (as well as the mood), while keeping some of the lighter elements always in play. In the film, after a brilliant (and terribly funny) opening section with Agents Desmond and Stanley, Lynch, uncensored, delves into the muck of Laura Palmer's life and stays there. What I mostly find repellant about this (though perhaps this is not a negative statement about the film, but a neutral observation) is that Lynch gives us no distance from the horrors of the incest and murder. Dale Cooper is nowhere to be found. There are no humorous characters to filter what we see on the screen. It's brutal. Back in the world of film, Lynch is free from narrative constraints, and this is to his advantage in presenting the material, but it's also just a harder set of material to sit through. I don't respond to Sheryl Lee as I do to another Lynch heroine, Laura Dern.

    It occurs to me that Lynch is uncompromising in seeking to destroy the conventions and niceties of the TV series, something Lynch starts to do in the final episode of season 2. The film begins with an axe through a TV for goodness sakes! The sheriff and secretary of Dead Meadow, the setting of the opening sequence, are nothing like Sheriff Truman and Lucy. Lynch uses these two elements to hint that this film will show a world/perspective very different from the TV show. The characterizations of Cooper, Gordon Cole, James Hurley, etc. are mostly consistent with the show, but the focus is different. Instead of the evil lurking on the edges, we are confronted with it in full-force as we experience the last days of Laura Palmer. This is the dark underbelly of Twin Peaks.

    Another brief thought: I also wonder whether this is the first film where Lynch takes a film in one direction narratively and then severs it completely and starts again, as he would do with Lost Highway. We have a humorous and dry opening sequence with Agent Desmond and Sam Stanley (not to mention the brilliant Harry Dean Stanton), and then the narrative and tone shifts completely when we go to Twin Peaks. No longer will we be watching from behind the comforts of a police procedural. We stick by Laura's side.

  10. #10
    Scott of the Antarctic Milky Joe's Avatar
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    Quote Quoting soitgoes... (view post)
    Even keeping in mind that you love all his films, it is shocking to see Mulholland Dr. and Lost Highway so low.
    Yeah it's even shocking to me (though I've never been the biggest champion of MD, I considered LH my absolute favorite for a while), but I'm pretty certain of the top 5 and I can't bear to put as masterful a film as The Elephant Man any lower than it is.
    ‎The severed arm perfectly acquitted itself, because of the simplicity of its wishes and its total lack of doubt.

  11. #11
    Not a praying man Melville's Avatar
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    Great thread. Here's how I'd rank Lynch's films:

    Love about equally:
    Mulholland Dr.
    Lost Highway
    Eraserhead
    Blue Velvet

    Really, really like:
    Inland Empire
    Wild At Heart
    Fire Walk With Me

    Like: The Straight Story

    Neutral toward: The Elephant Man

    Dislike: Dune


    I think this is the only thing I've written about Lynch's movies:

    I tend to view Lost Highway, Mulholland Drive, and Inland Empire as re-tellings of the same story from different angles and with different philosophical implications. All three set up a dichotomy between the real world and the ideal world, the latter identified with or exemplified by movies in general and Hollywood (the Dream Factory) in particular. In the first two films, the ideal world is characterized as the world of love, in which the loved one embodies the lover's ideals (and/or defines them) and the lover is the center of the loved one's world; and in both cases the real world is one in which the loved one cheats on the lover and the jealous lover then kills the loved one. In the adulterous act the lover dissolves the ideal by removing herself from her assigned role as its embodiment; and by focusing her attentions on another, she casts the lover from his/her desired place at the center of the ideal world. Thus, the adultery acts as a perpetual rupture of the real into the ideal.

    The two films have slightly different approaches to these themes. In Lost Highway, the ideal world is that of cheesy "guy movie" and the spurned/murderous lover idealizes himself as a virile young dude. From his masculine perspective, his loved one's adultery has the connotations of emasculation and is intimately connected to his fear of impotence. In Mulholland Drive, the ideal world is more explicitly acknowledged as the dream world of Hollywood, and the spurned/murderous lover idealizes herself as a caring, talented woman who is the center of attention. (I don't think it really makes much use of her "female" perspective, unlike Lost Highway's depiction of the "male" perspective.)

    The two films also arrive at opposite conclusions. In Lost Highway, the real and ideal merge in the end, and the story is presented as an eternal return of this process, an endless repetition of the real being forced into a set of archetypes and then erupting those archetypes. This presents a Hegelian picture of consciousness in which thesis and antithesis repeatedly form before being overcome and contained within a synthesis. In Mulholland Drive, the real and ideal are irreconcilable; their difference cannot be overcome, and the story has a definite end with the lover's despairing self-destruction. (This could be tied into Kierkegaard's critique of Hegel's dialectic.)

    What interests me most about Inland Empire is how it retells this same story from a very different and much larger perspective, and how its conclusions act as a commentary on the earlier films. The protagonist of Inland Empire is no longer the scorned lover, but the cheating loved one; this is an immediate upheaval of the earlier stories that forces us to completely change our perspectives and sympathies. In this story, a conflation of the real and the ideal is actually what drives the cheater to cheat; she is so absorbed in the ideal world that she is cast into that she adopts her role in it as something real. Simultaneously, we see the story of male emasculation and female cheating retold again and again in many forms, setting it up as an archetypal tale, rather than "the real" that ruptures the ideal; we see how the ideal world acts as a perversion that makes the loved one a whore; and in Dern's monologue, we see a story told by an embodiment of the problems that "real" women face as they are forced into the roles that men wish for them. All of these aspects continually comment upon one another, and put the earlier films in a broader context.

    By far my favorite part of Inland Empire is the celebratory ending. When the camera pulls back from the scene of Dern's height of misery, the film asserts a philosophical rejection of the earlier two films: it insists that their is no distinction between the real and ideal. The miserable "real" world that always threatens to rupture the ideal world is itself a construct of archetypes and ideals. I don't know much about Lynch's transcendental meditational beliefs, but I think the film's ending is a profound and revelatory celebration of Mayahana Buddhism's central tenet that "There is not the slightest difference between cyclic existence and nirvana" (in which case the earlier films can be seen in the light of Theravada Buddhism's more pessimistic quest for self-annihilation). As the Buddha said, "O what an awakening, all hail!"
    I am impatient of all misery in others that is not mad. Thou should'st go mad, blacksmith; say, why dost thou not go mad? How can'st thou endure without being mad? Do the heavens yet hate thee, that thou can'st not go mad?

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  12. #12
    Guttenbergian Pop Trash's Avatar
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    Sweet! I was just reading Catching the Big Fish last week.

    Fan-fucking-tastic:
    1. Twin Peaks (Series)
    2. Blue Velvet

    Damn good movies:
    3. The Elephant Man
    4. The Straight Story
    5. Mulholland Drive
    6. Eraserhead
    7. Twin Peaks: Fire Walk With Me
    8. Lost Highway

    Pretty good, but mixed feelings about the DV:
    9. Inland Empire

    Tie for last place crappiness:
    Wild at Heart and Dune

  13. #13
    Director chrisnu's Avatar
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    I will read through the thread when I have more time; for now...

    Love:

    1. Mulholland Dr.
    2. Blue Velvet
    3. The Straight Story
    4. Lost Highway
    5. The Elephant Man

    Like:

    6. Eraserhead
    7. Inland Empire
    8. Fire Walk With Me

    Meh:

    9. Wild at Heart
    Contagion (Soderbergh, 2011) - 6.5
    The Descendants (Payne, 2011) - 7.5
    Midnight in Paris (Allen, 2011) - 5
    Margin Call (Chandor, 2011) - 6.5
    The Ides of March (Clooney, 2011) - 5

  14. #14
    Because I don't have time to do a research essay...

    Eraserhead, Dune, Blue Velvet, Twin Peaks: Fire Walk With Me, Mulholland Dr. and Inland Empire are awesome.

    The Straight Story is touching but forgettable.

    The Elephant Man is mediocre.

    I need to re-watch Lost Highway.

    I tried watching Wild at Heart once a couple years ago, and I hated it so much I had to turn it off after forty minutes.
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  15. #15
    What is best in life? D_Davis's Avatar
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    I'll play:

    1. Mulholland Dr.
    2. The Straight Story
    3. Fire Walk With Me
    4. Inland Empire
    5. The Elephant Man
    6. Eraserhead
    7. Blue Velvet
    8. Wild at Heart
    9. Lost Highway

  16. #16
    Guttenbergian Pop Trash's Avatar
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    Quote Quoting baby doll (view post)
    I tried watching Wild at Heart once a couple years ago, and I hated it so much I had to turn it off after forty minutes.
    Wow, I did the same thing the first time I tried to watch it. It was like aggressively bad. Then I managed to watch the whole thing later in my life but guess what...it still sucks.

  17. #17
    Um.

    1. Eraserhead
    2. Inland Empire
    3. Mulholland Drive
    4. Blue Velvet
    5. Wild at Heart

    I actually enjoyed Wild at Heart quite a bit, though I'm not prepared to defend it. There was one singular, incredible sequence when Laura Dern freaks out about the reports on the radio, makes Cage find some music, and they dance on the side of the road.

    The scene where Willem Dafoe verbally rapes Laura Dern has stuck with me as well.

  18. #18
    Scott of the Antarctic Milky Joe's Avatar
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    Quote Quoting Sycophant (view post)
    I actually enjoyed Wild at Heart quite a bit, though I'm not prepared to defend it. There was one singular, incredible sequence when Laura Dern freaks out about the reports on the radio, makes Cage find some music, and they dance on the side of the road.

    The scene where Willem Dafoe verbally rapes Laura Dern has stuck with me as well.
    Yeah, there's something incredibly visceral about that film. It has an exuberance, a ballsiness that most films would do better to have more of. A sense of like, "fuck you, I AM going to have a close up of Willem Dafoe's head flying through the air and rolling on the ground, because I CAN." I can't help but admire it, even if I'm not totally sure I want to see the whole thing again.
    ‎The severed arm perfectly acquitted itself, because of the simplicity of its wishes and its total lack of doubt.

  19. #19
    Not a praying man Melville's Avatar
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    I've watched Wild at Heart repeatedly, and it was pretty awesome every time.
    I am impatient of all misery in others that is not mad. Thou should'st go mad, blacksmith; say, why dost thou not go mad? How can'st thou endure without being mad? Do the heavens yet hate thee, that thou can'st not go mad?

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  20. #20
    Montage, s'il vous plait? Raiders's Avatar
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    The Great-to-Good
    1. INLAND EMPIRE
    2. Mulholland Dr.
    3. The Straight Story
    4. Blue Velvet

    The OK
    5. The Elephant Man
    6. Lost Highway
    7. Eraserhead

    The Bad

    8. Dune

    The Wretched
    9. Wild at Heart

    I guess I'm a bit bigger of a fan than I thought.
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  21. #21
    Bark! Go away Russ's Avatar
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    My favorite filmmaker, past, present or future. It will be a very sad day when he is no longer around to let us tap into his subconsciousness.

    You know you've done good when you've managed to turn your surname into an adjective.

  22. #22
    Piss off, ghost! number8's Avatar
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    I really like how he does weather reports on his Twitter. It brightens up my mornings.
    Quote Quoting Donald Glover
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  23. #23
    1. Inland Empire - 8.5
    2. Mulholland Dr. - 8.5
    3. Blue Velvet - 7.5
    4. Eraserhead - 6.5
    5. The Elephant Man - 6

    A lot like Raiders' list, actually. Doesn't seem like I'm a big fan, but I am a fan on the strenth of 1 and 2 especially.
    The Act of Killing (Oppenheimer 13) - A
    Stranger by the Lake (Giraudie 12) - B
    American Hustle (Russell 13) - C+
    The Wolf of Wall Street (Scorsese 13) - C+
    Passion (De Palma 12) - B

  24. #24
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    I really like that one movie, Mulholland Dr..

  25. #25
    1. Blue Velvet and Mulholland Drive (tie for now, occasional edge given to the former)
    2. Twin Peaks TV Series
    3. Inland Empire
    4. The Elephant Man
    5. Lost Highway
    6. Eraserhead
    7. Wild at Heart
    8. The Straight Story
    9. Twin Peaks: FWWM
    10. Dune

    The man can basically do no wrong for me. Except, well, Dune.

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