A key figure in the ongoing legacy of modern cinema, David Lynch designs environments for spectators, transporting them to inner worlds built by mood, texture, and uneasy artifice. We enter these famously cinematic interiors to be wrapped in plastic, the fundamental substance of LynchAEs work. This volume revels in the weird dynamism of LynchAEs plastic worlds. Exploring the range of modern design idioms that inform LynchAEs films and signature mise-en-scu00e8ne, Justus Nieland argues that plastic is at once a key architectural and interior design dynamic in LynchAEs films, an uncertain way of feeling essential to LynchAEs art, and the prime matter of LynchAEs strange picture of the human organism. NielandAEs study offers striking new readings of LynchAEs major works (Eraserhead, Blue Velvet, Wild at Heart, Mulholland Dr., Inland Empire) and his early experimental films, placing LynchAEs experimentalism within the aesthetic traditions of modernism and the avant-garde; the genres of melodrama, film noir, and art cinema; architecture and design history; and contemporary debates about cinematic ontology in the wake of the digital. This inventive study argues that LynchAEs plastic concept of life--supplemented by technology, media, and sensuous networks of an electric world--is more alive today than ever.