Abstract

Dune, released in 1984 and directed by David Lynch, from his own adaptedscreenplay of Frank Herbert’s epic science-fiction novel, provides a rich examplefor a reception study on ideas of authorship. On the one hand, Herbert’s 1960scult bestseller has evolved into a franchise and is thus regarded by Duneenthusiasts as a sacrosanct text. From a Lynch perspective, though, the film isusually seen as his least personal work – an event movie no less – and as such itholds the rank of the most uncared for text in his filmic canon. It is the goal ofthis paper to analyse Dune’s meanings in relation to critical writings foundedupon the tenets of early auteurism so we might explore its function as areception preference for the predisposed reader. But rather than simply dismissauteurism as humanist idealism , the outcome of this paper seeks to also take account ofthe writing pleasures the author might bring to the interpretation of filmed texts