Journal articles on the topic 'HoReCa segment'

PT XYZ is one of agribusiness companies which offers horticultural products in Indonesia which are considered as eco-profit and low-pesticide-based-products. The purpose of this research is to describe and improve the business model of PT XYZ based on the Business Model Canvas (BMC) approach and SWOT analysis then the analysis is carried out the preparation of a new business model prototype for PT XYZ. This study utilizes structured interviews assisted with questionnaire instruments as data collection procedures and both Business Model Canvas (BMC) approach and identification of SWOT as research methodology. The results of the SWOT analysis on nine elements of Business Model Canvas (BMC) show that there are internal and external factors that become strengths and weaknesses for the company in carrying out its business model and also what opportunities and threats from external factors affect PT XYZ's business processes are. The SWOT identification results then used as background to formulate a new business improvement model. Improvement of PT XYZ's business model is aims to streamline production in satisfying the demand of Horeca (Hotel, Restaurant, Catering) customers. In supporting expansion of PT XYZ by having effective and efficient business model, the improvements that need to be done are escalating production management, doing production forecast, creating and socializing SOPs to farmers as the main partner, enhancing offline promotion by joining events held by Horeca (Hotel, Restaurant, Catering) events and dividing customer segment into three segments by sorting them based on priority which are Horeca (Hotel, Restaurant, Catering) as the first market segment, modern markets as the second market segment, and traditional market as the third market segment.

Urbanization, rising income levels, technology penetration, changing life styles are some of the driving forces for the growth of food service industry especially the HoReCa segment in India. Westernization of food consumption patterns has demanded for wide variety of processed foods. Among several food products, the usage of tomato in fresh form is very known by Indian households while an increased application of tomato based products in various culinary applications has become prominent. The present study focus on various tomato based products, brands preferred by HoReCa sector in their culinary applications. Purposive cum snowball sampling design is employed in the present study. The sample size of the study is 60. Among the tomato based products, the sector is majorly using chopped tomatoes followed by tomato paste. The monthly consumption requirement of tomato sauce exhibited wide variations i.e. from 20 kgs to more than 80 kgs per month and. The sector prefers plastic containers for tomato sauce packaging and tetra pack for tomato juice majorly due of their shelf-life and consumption safety. Tomato sauce and ketchup are majorly sourced from company distributors. The major tomato based brands preferred are Morton and Delmonte. Rich tomato sauce procured majorly from outside while others are prepared based on cuisine and customer requirement. The usage of tomato sauce is majorly used in snacks items followed by breakfast items in south and north Indian culinary applications while in Chinese and Italian culinary applications, the usage is prominent in noodles, manchuria, soup, rice, chicken, mutton and starters.

Для большинства направлений бизнеса, необходимо обладать инструментом прогнозирования конечного спроса на предлагаемые товары и услуги. Это дает дополнительные возможности для обоснованного планирования логистики, для производственных программ на протяженный горизонт, для найма персонала, для строительства или приобретения B&M инфраструктуры, для закупок в сфере услуг, закупок лекарств в сфере оказания медицинских услуг, в сегмент HORECA. Предлагаемый в работе математический аппарат позволит вести любую коммерческую деятельность с опорой на достоверные оценки будущих рыночных потребностей. При разработке математической модели учитывалось, что непосредственные сделки с конечным потребителем происходят после прохождения продуктом длинной цепи производителей и посредников. При этом каждое из звеньев данной цепи обладает временным лагом. Результаты исследования могут применяться на практике менеджерами различного уровня.[1] Исследование выполнено при финансовой поддержке Российского фонда фундаментальных исследований в рамках научного проекта №20-014-00029 For most business areas, it is necessary to have a tool to forecast the final demand for the goods and services offered. This provides additional opportunities for sound logistics planning, for production programs over a long period of time, for hiring HR, for building or purchasing B&M infrastructure, for service procurement, for purchasing medicines in the medical service sector, and for the HORECA segment. The proposed in the paper mathematical apparatus will enable any commercial activity to be conducted on the basis of reliable estimates of future market needs. The mathematical model takes into account that direct transactions with final users take place after a product has passed through a long chain of manufacturers and intermediaries. Moreover, every link of this chain has a time lag. The results of this research can be implemented in practice by managers at various levels.

With the change the life rhythm of bakery consumers, a necessity for semi-finished products, that can be prepared without the high cost in time, are appeared. In the economically developed countries, the use of semi-finished products is widespread. In Russia intensive technologies are also developing and all they are faster used in small businesses and the segment HoReCa, because these technologies are more flexible and convenient than traditional ones. Based on the studies on the rheology of dough, by dough-making method, physical and chemical indicators, frosting and defrosting of semifinished products and counting the number of microorganisms, the baking data has been worked out the baking bread technology named “Zimniy”, in which Technical conditions 9114-142-0493202-10 were developed. The approbation of developed “Zimniy” bread baking technology was taken in a production environment and processing complex of Training, research and production complex “Technolog” of Kuban State Agrarian University.

The aim of this study was to assess the impact of SARS-CoV-2 virus on the meat market in Poland. The meat market is an important part of the Polish economy. Production of slaughter animals (pork, beef and poultry) accounts for over 1/3 of agricultural commodity production, and the meat industry (red meat and poultry) is the largest branch of food processing. The COVID-19 pandemic, which also reached Poland, did not significantly shake this market. A sign of the introduced restrictions in social and economic life was a short-term massive purchase of food with an extended shelf life. Lockdown slightly changed the eating and shopping habits of Poles. In the first half of 2020, exports of beef and poultry decreased by 3-5%, and exports of pork decreased by 28% compared to the first half of 2019. The meat market continued to struggle with African Swine Fever (ASF) and, in addition, with bird flu. The HoReCa segment was the most affected part of the market.

The article is devoted to the generalization of the design features of visual communication of hospitality brands. Visual communications is a separate field of design, which began to take shape in the 1950s. Its purpose was to study a set of problems related to the interaction of the system "man - environment", designed to organize spatial content. Visual communications of design have become an important component of the modern consumer market, finding its expression not only in advertising, but also in the image of the seller and the product itself. Visual communications have become a link between design, science and economics. Based on the results of the study, the authors analyzed the impact of visual communication design on the branding process in the HoReCa segment. The share of perception through visual images, signs, systems is incredibly large, and the formation of proper visual communication based on basic principles of perception, relevant images and associations helps to create a correct, comfortable and cost-effective space for promoting goods and services, including hotel and restaurant segment. The authors propose a classification of design elements of visual communication in the field of hospitality. There are three main time stages of design in the structure of brand design in the hospitality industry. The article identifies the features of the design of visual communication for the hotel and restaurant business. Elements of the brand, embodied in the design, form a system of visual communications, which begin to perform the functions assigned to them by corporate and marketing strategy. Objects that are visually perceived are less likely to cause hostility and more likely to form positive associations, which leads to better assimilation of information and memory, which is an important element in shaping consumer loyalty in the hospitality industry.

The article presents the results of studies of the relationship of potential consumers to new synbiotic products with predictably formed functional, prebiotic properties and biological activity. The assessment of the prospects of including the developed bioactive synbiotic products in the recipes of dishes of public catering enterprises and giving them functional properties is given. The main socio-demographic characteristics and preferences of consumers in relation to synbiotic products with compositions of bioactive plant components have been identified. The trends of needs change, their duality, dilemmas, reality and problems of the main drivers relevant to the modern consumer, price expectations, preferred options for introducing bioactive synbiotic products into the diet are revealed. The study allows us to draw a conclusion about the need to take into account when developing new technologies and reflect in the information and advertising materials the identified consumer expectations regarding the taste, usefulness, safety, convenience and authenticity of new products, including synbiotic with plant-based biological active components, and their Introduction into food recipes is a promising direction for the development of enterprises of the HoReCa segment. The results of the study, carried out with a focus on enterprises in the public catering sector, seem relevant, since the use of synbiotic products with herbal biological components is an expansion of opportunities for food and bio-technologies, public catering organizations with justified socio-economic effect.

The use of digital technologies in the agro-food sector is growing worldwide, and applications in the urban and regional food systems represent a relevant segment of such growth. The present paper aims at reviewing the literature on which and how digital technologies support urban and regional agro-food purchasing and consumption, as well as their characteristics. Data collection was performed on Scopus and Web of Science. Articles were selected using a research string and according to specific inclusion and exclusion criteria. The Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA) flow approach was adopted to explain data screening and selection. The 57 resulting studies were included in the final qualitative analysis, which explored the characteristics of the research studies and of the digital technologies analysed. Most of the studies analysed concerned the implications of digital technologies on local food consumption, especially focusing on consumption, primary production and hotel-restaurant-café-catering sector (HORECA), and to a limited extent on the retail sector. Consumers and farmers are the main targets of Information and Communications Technology (ICT) tools, whose principal aims are providing information on agro-food products and enhancing networking along the food supply chain. Analysing digital technologies allows a better understanding of their most popular features in order to support their spread among citizens. Digital technologies, and particularly Apps, can be a valuable instrument to strengthen agro-food chain actor relations and to promote urban and regional food systems.

Abstract In the beginning of the 1950s, using the thematic vowel as a criterion for dividing verbs into conjugation classes became the topic of a major linguistic discussion, since the historical understanding of the vowel was no longer applicable for the compilation of practical handbooks. Proposals presented in the discussion aimed to discover a functionalistic replacement for the concept of the thematic vowel. Despite this radical attitude, partakers of the discussion were not able to avoid the mixing of contemporary and historical perspectives. The discussion on the nature of this segment found itself in a cul‐de‐sac. What is the segment’s function? Does the vowel represent a part of the stem or a part of the suffix? Or is it autonomous? These dilemmas were solved in 1964 when Ján Horecký proposed new principles for morphematic division in Slovak, which upgraded the then‐existing building of – not only – morphematic models to new qualitative levels.

This work aims to assess the spatial distribution and the seasonal behavior of metals, no-metals, physical and chemical variables and provide a pre-impact geochemical scenario from non-polluted mangrove sediments of a transect at the Cardoso Island (Cananéia, São Paulo State, Brazil) extending 340 m long landward. Triplicate samples from eight stations were collected in December 2001 and June 2002. Conductivity, pH, temperature, salinity and dissolved oxygen from the sediment interstitial water were checked in field using a Horiba U-10 probe. Metals and no-metals concentrations were obtained employing an inductively coupled plasma optical emission spectrometer (ICP OES) Vista-RL-Varian, radial vision. The sediments reflected two distinct intertidal segments: a “lower plain” (LP) and an “upper plain” (UP). The LP, which comprises the first 100 m landward from the bay, is a muddy environment with higher metal concentration and seasonally more stable than the UP. This latter, extending until the upper boundary of the intertidal zone, is a more oxygenated sandy flat with lower metal concentration. The distinct behavior of the geochemistry pattern observed along the transect in December and June is interpreted as associated with seasonal pluviometric fluctuations. The low metal concentrations denote low anthropogenic interference in the area, one of the most well preserved Brazilian coastal regions. It can be used as reference area to comparative studies involving similar ecosystems and, in the future, to check the environmental state of this mangrove flat.

Not long ago, the publication of two volumes of essays devoted to a rereading and rethinking of imperial Latin literature would have been held up as a classic example of professional Latinists making a virtue out of necessity — since we cannot all write on Vergil and Horace, some of us must therefore stiffen our upper lips and attempt to produce ‘sound’ scholarship on the reams of inferior poetry that make up the rest of Latin literature. The unspoken assumptions behind this attitude are beginning to be voiced, scrutinized, and rejected. Poetic works that until recently appeared mannered, degenerate, and even perverse are now being interpreted in new ways, and revealing hidden pleasures and unexpected virtues. It is thus an appropriate time to reconsider the work of Prudentius, poet of an age of radical experimentation in both language and culture. I try in this essay to maintain a kind of double vision, for it is important for those unfamiliar with Prudentius' poetry to realize the extent to which shifting cultural paradigms affect and are reflected in the poet's textual strategies. This is a somewhat amorphous task, and the article falls into two main segments whose relationship may not be entirely clear until the end. I begin with some examples of Prudentius' abstract and punning poetic technique, intended to provide the reader with an understanding of how to ‘decode’ the poems; I then offer a reading of two of his poems which illustrate his textual response to a contemporary cultural phenomenon, the increasing popularity of sexual renunciation. My title refers to two attempts at revision: ours, as we attempt to reclaim the ‘perverse’ poetics comdemned by generations of classical scholarship; and that of the men and women of Late Antiquity, who reversed a centuries-old paradigm and created a new virtue, virginity, out of what had been a form of perversity.

Abstract Extensive and semi-extensive production based on local swine breeds such as Majorcan Black Pig, Cinta Senese, Gascon, Krškopolje and Turopolje is becoming extremely rare and on the verge of disappearing in Europe. In this context, the main aim of this study was to assess the potential feasibility of marketing strategies to act as guidelines for stakeholders along the supply chain to create and improve added value and match market demands. The sustainability of five production systems was evaluated together with 60 stakeholders representing five local swine breeds, using a World Café (WC) method combined with an Analytical Hierarchical Process (AHP). The results showed that the proposed strategies could differ slightly depending on each system, while the product strategy was a common marketing priority for most of the stakeholders and represented all the systems evaluated. Diversifying production toward quality, innovative products, enhanced standardization, and quality labeling or seals of guarantee, such as the protected geographical indication or the protected designation of origin, would contribute to the sustainability of these chains. Advertising the storytelling of the meat products and emphasizing their healthier properties were also considered as positive strategies. To this effect, promotion should involve improving knowledge of the local systems and raising the profile of the meat products via public relations (networks, web pages, food and gastronomic events, workshops and so on) in the Hotels, Restaurants and Catering (HORECA) sector, stores selling top-quality products and local food shops. Better showcasing of these products and keeping the price in the premium segment would indirectly help the primary sector. By way of conclusion, other more developed local swine systems could be strong competitors, hence it is extremely important to effectively identify and trace all autochthonous swine breed products throughout the production chain. Furthermore, the entire chain must place greater emphasis on grazing (extensive or semi-extensive), the origin of the swine and their meat products. However, of utmost importance is cooperation between farms, firms and institutions.

It is widely acknowledged among film scholars that Lynch’s 2001 neo-noir Mulholland Drive is richly infused with intertextual references and homages — most notably to Charles Vidor’s Gilda (1946), Billy Wilder’s Sunset Boulevard (1950), Alfred Hitchcock’s Vertigo (1958), and Ingmar Bergman’s Persona (1966). What is less recognised is the extent to which J. Sheridan Le Fanu’s 1872 Gothic novella Carmilla has also influenced Mulholland Drive. This article focuses on the dynamics of the relationship between Carmilla and Mulholland Drive, particularly the formation of femme fatale Camilla Rhodes (played by Laura Elena Harring), with the aim of establishing how the Gothic shapes the viewing experience of the film. I argue that not only are there striking narrative similarities between the texts, but lying at the heart of both Carmilla and Mulholland Drive is the uncanny. By drawing on this elusive and eerie feeling, Lynch successfully introduces an archetypal quality both to Camilla and Mulholland Drive as a whole, which in turn contributes to powerful sensations of desire, dread, nostalgia, and “noirness” that are aroused by the film. As such Mulholland Drive emerges not only as a compelling work of art, but also a deeply evocative cinematic experience. I begin by providing a brief overview of Le Fanu’s Gothic tale and establish its formative influence on later cinematic texts. I then present a synopsis of Mulholland Drive before exploring the rich interrelationship the film has with Carmilla. Carmilla and the Lesbian Vampire Carmilla is narrated from the perspective of a sheltered nineteen-year-old girl called Laura, who lives in an isolated Styrian castle with her father. After a bizarre event involving a carriage accident, a young woman named Carmilla is left in the care of Laura’s father. Carmilla is beautiful and charming, but she is an enigma; her origins and even her surname remain a mystery. Though Laura identifies a number of peculiarities about her new friend’s behaviour (such as her strange, intense moods, languid body movements, and other irregular habits), the two women are captivated with each other, quickly falling in love. However, despite Carmilla’s harmless and fragile appearance, she is not what she seems. She is a one hundred and fifty year old vampire called Mircalla, Countess Karnstein (also known as Millarca — both anagrams of Carmilla), who preys on adolescent women, seducing them while feeding off their blood as they sleep. In spite of the deep affection she claims to have for Laura, Carmilla is compelled to slowly bleed her dry. This takes its physical toll on Laura who becomes progressively pallid and lethargic, before Carmilla’s true identity is revealed and she is slain. Le Fanu’s Carmilla is monumental, not only for popularising the female vampire, but for producing a sexually alluring creature that actively seeks out and seduces other women. Cinematically, the myth of the lesbian vampire has been drawn on extensively by film makers. One of the earliest female centred vampire movies to contain connotations of same-sex desire is Lambert Hilyer’s Dracula’s Daughter (1936). However, it was in the 1960s and 1970s that the spectre of the lesbian vampire exploded on screen. In part a response to the abolishment of Motion Picture Code strictures (Baker 554) and fuelled by latent anxieties about second wave feminist activism (Zimmerman 23–4), films of this cycle blended horror with erotica, reworking the lesbian vampire as a “male pornographic fantasy” (Weiss 87). These productions draw on Carmilla in varying degrees. In most, the resemblance is purely thematic; others draw on Le Fanu’s novella slightly more directly. In Roger Vadim’s Et Mourir de Plaisir (1960) an aristocratic woman called Carmilla becomes possessed by her vampire ancestor Millarca von Karnstein. In Roy Ward Baker’s The Vampire Lovers (1970) Carmilla kills Laura before seducing a girl named Emma whom she encounters after a mysterious carriage breakdown. However, the undead Gothic lady has not only made a transition from literature to screen. The figure also transcends the realm of horror, venturing into other cinematic styles and genres as a mortal vampire whose sexuality is a source of malevolence (Weiss 96–7). A well-known early example is Frank Powell’s A Fool There Was (1915), starring Theda Barra as “The Vampire,” an alluring seductress who targets wealthy men, draining them of both their money and dignity (as opposed to their blood), reducing them to madness, alcoholism, and suicide. Other famous “vamps,” as these deadly women came to be known, include the characters played by Marlene Dietrich such as Concha Pérez in Joseph von Sternberg’s The Devil is a Woman (1935). With the emergence of film noir in the early 1940s, the vamp metamorphosed into the femme fatale, who like her predecessors, takes the form of a human vampire who uses her sexuality to seduce her unwitting victims before destroying them. The deadly woman of this era functions as a prototype for neo-noir incarnations of the sexually alluring fatale figure, whose popularity resurged in the early 1980s with productions such as Lawrence Kasdan’s Body Heat (1981), a film commonly regarded as a remake of Billy Wilder’s 1944 classic noir Double Indemnity (Bould et al. 4; Tasker 118). Like the lesbian vampires of 1960s–1970s horror, the neo-noir femme fatale is commonly aligned with themes of same-sex desire, as she is in Mulholland Drive. Mulholland Drive Like Sunset Boulevard before it, Mulholland Drive tells the tragic tale of Hollywood dreams turned to dust, jealousy, madness, escapist fantasy, and murder (Andrews 26). The narrative is played out from the perspective of failed aspiring actress Diane Selwyn (Naomi Watts) and centres on her bitter sexual obsession with former lover Camilla. The film is divided into three sections, described by Lynch as: “Part one: She found herself inside a perfect mystery. Part two: A sad illusion. Part three: Love” (Rodley 54). The first and second segments of the movie are Diane’s wishful dream, which functions as an escape from the unbearable reality that, after being humiliated and spurned by Camilla, Diane hires a hit man to have her murdered. Part three reveals the events that have led up to Diane’s fateful action. In Diane’s dream she is sweet, naïve, Betty who arrives at her wealthy aunt’s Hollywood home to find a beautiful woman in the bathroom. Earlier we witness a scene where the woman survives a violent car crash and, suffering a head injury, stumbles unnoticed into the apartment. Initially the woman introduces herself as Rita (after seeing a Gilda poster on the wall), but later confesses that she doesn’t know who she is. Undeterred by the strange circumstances surrounding Rita’s presence, Betty takes the frightened, vulnerable woman (actually Camilla) under her wing, enthusiastically assuming the role of detective in trying to discover her real identity. As Rita, Camilla is passive, dependent, and grateful. Importantly, she also fondly reciprocates the love Betty feels for her. But in reality, from Diane’s perspective at least, Camilla is a narcissistic, manipulative femme fatale (like the character portrayed by the famous star whose name she adopts in Diane’s dream) who takes sadistic delight in toying with the emotions of others. Just as Rita is Diane’s ideal lover in her fantasy, pretty Betty is Diane’s ego ideal. She is vibrant, wholesome, and has a glowing future ahead of her. This is a far cry from reality where Diane is sullen, pathetic, and haggard with no prospects. Bitterly, she blames Camilla for her failings as an actress (Camilla wins a lead role that Diane badly wanted by sleeping with the director). Ultimately, Diane also blames Camilla for her own suicide. This is implied in the dream sequence when the two women disguise Rita’s appearance after the discovery of a bloated corpse in Diane Selwyn’s apartment. The parallels between Mulholland Drive and Carmilla are numerous to the extent that it could be argued that Lynch’s film is a contemporary noir infused re-telling of Le Fanu’s novella. Both stories take the point-of-view of the blonde haired, blue eyed “victim.” Both include a vehicle accident followed by the mysterious arrival of an elusive dark haired stranger, who appears vulnerable and helpless, but whose beauty masks the fact that she is really a monster. Both narratives hinge on same-sex desire and involve the gradual emotional and physical destruction of the quarry, as she suffers at the hands of her newly found love interest. Whereas Carmilla literally sucks her victims dry before moving on to another target, Camilla metaphorically drains the life out of Diane, callously taunting her with her other lovers before dumping her. While Camilla is not a vampire per se, she is framed in a distinctly vampirish manner, her pale skin contrasted by lavish red lipstick and fingernails, and though she is not literally the living dead, the latter part of the film indicates that the only place Camilla remains alive is in Diane’s fantasy. But in the Lynchian universe, where conventional forms of narrative coherence, with their demand for logic and legibility are of little interest (Rodley ix), intertextual alignment with Carmilla extends beyond plot structure to capture the “mood,” or “feel” of the novella that is best described in terms of the uncanny — something that also lies at the very core of Lynch’s work (Rodley xi). The Gothic and the Uncanny Though Gothic literature is grounded in horror, the type of fear elicited in the works of writers that form part of this movement, such as Le Fanu (along with Horace Walpole, Ann Radcliffe, Mary Shelly, and Bram Stoker to name a few), aligns more with the uncanny than with outright terror. The uncanny is an elusive quality that is difficult to pinpoint yet distinct. First and foremost it is a sense, or emotion that is related to dread and horror, but it is more complex than simply a reaction to fear. Rather, feelings of trepidation are accompanied by a peculiar, dream-like quality of something fleetingly recognisable in what is evidently unknown, conjuring up a mysterious impression of déjà vu. The uncanny has to do with uncertainty, particularly in relation to names (including one’s own name), places and what is being experienced; that things are not as they have come to appear through habit and familiarity. Though it can be frightening, at the same time it can involve a sensation that is compelling and beautiful (Royle 1–2; Punter 131). The inventory of motifs, fantasies, and phenomena that have been attributed to the uncanny are extensive. These can extend from the sight of dead bodies, skeletons, severed heads, dismembered limbs, and female sex organs, to the thought of being buried alive; from conditions such as epilepsy and madness, to haunted houses/castles and ghostly apparitions. Themes of doubling, anthropomorphism, doubt over whether an apparently living object is really animate and conversely if a lifeless object, such as a doll or machinery, is in fact alive also fall under the broad range of what constitutes the uncanny (see Jentsch 221–7; Freud 232–45; Royle 1–2). Socio-culturally, the uncanny can be traced back to the historical epoch of Enlightenment. It is the transformations of this eighteenth century “age of reason,” with its rejection of transcendental explanations, valorisation of reason over superstition, aggressively rationalist imperatives, and compulsive quests for knowledge that are argued to have first caused human experiences associated with the uncanny (Castle 8–10). In this sense, as literary scholar Terry Castle argues, the eighteenth century “invented the uncanny” (8). In relation to the psychological underpinnings of this disquieting emotion, psychiatrist Ernst Jentsch was the first to explore the subject in his 1906 document “On the Psychology of the Uncanny,” though Sigmund Freud and his 1919 paper “The Uncanny” is most popularly associated with the term. According to Jentsch, the uncanny, or the unheimlich in German (meaning “unhomely”), emerges when the “new/foreign/hostile” corresponds to the psychical association of “old/known/familiar.” The unheimlich, which sits in direct opposition to the heimlich (homely) equates to a situation where someone feels not quite “at home” or “at ease” (217–9). Jentsch attributes sensations of the unheimlich to psychical resistances that emerge in relation to the mistrust of the innovative and unusual — “to the intellectual mystery of a new thing” (218) — such as technological revolution for example. Freud builds on the concept of the unheimlich by focusing on the heimlich, arguing that the term incorporates two sets of ideas. It can refer to what is familiar and agreeable, or it can mean “what is concealed and kept out of sight” (234–5). In the context of the latter notion, the unheimlich connotes “that which ought to have remained secret or hidden but has come to light” (Freud 225). Hence for Freud, who was primarily concerned with the latent content of the psyche, feelings of uncanniness emerge when dark, disturbing truths that have been repressed and relegated to the realm of the unconscious resurface, making their way abstractly into the consciousness, creating an odd impression of the known in the unknown. Though it is the works of E.T.A. Hoffman that are most commonly associated with the unheimlich, Freud describing the author as the “unrivalled master of the uncanny in literature” (233), Carmilla is equally bound up in dialectics between the known and the unknown; the homely and the unhomely. Themes centring on doubles, the undead, haunted gardens, conflicting emotions fuelled by desire and disgust — of “adoration and also of abhorrence” (Le Fanu 264), and dream-like nocturnal encounters with sinister, shape-shifting creatures predominate. With Carmilla’s arrival the boundaries between the heimlich and the unheimlich become blurred. Though Carmilla is a stranger, her presence triggers buried childhood memories for Laura of a frightening and surreal experience where Carmilla appears in Laura’s nursery during the night, climbing into bed with her before seemingly vanishing into thin air. In this sense, Laura’s remote castle home has never been homely. Disturbing truths have always lurked in its dark recesses, the return of the dead bringing them to light. The Uncanny in Mulholland Drive The elusive qualities of the uncanny also weave their way extensively through Mulholland Drive, permeating all facets of the cinematic experience — cinematography, sound score, mise en scène, and narrative structure. As film maker and writer Chris Rodley argues, Lynch mobilises every aspect of the motion picture making process in seeking to express a sense of uncanniness in his productions: “His sensitivity to textures of sound and image, to the rhythms of speech and movement, to space, colour, and the intrinsic power of music mark him as unique in this respect.” (Rodley ix–xi). From the opening scenes of Mulholland Drive, the audience is plunged into the surreal, unheimlich realm of Diane’s dream world. The use of rich saturated colours, soft focus lenses, unconventional camera movements, stilted dialogue, and a hauntingly beautiful sound score composed by Angelo Badalamenti, generates a cumulative effect of heightened artifice. This in turn produces an impression of hyper-realism — a Baudrillardean simulacrum where the real is beyond real, taking on a form of its own that has an artificial relation to actuality (Baudrillard 6–7). Distorting the “real” in this manner produces an effect of defamiliarisation — a term first employed by critic Viktor Shklovsky (2–3) to describe the artistic process involved in making familiar objects seem strange and unfamiliar (or unheimlich). These techniques are something Lynch employs in other works. Film and literary scholar Greg Hainge (137) discusses the way colour intensification and slow motion camera tracking are used in the opening scene of Blue Velvet (1984) to destabilise the aesthetic realm of the homely, revealing it to be artifice concealing sinister truths that have so far been hidden, but that are about to come to light. Similar themes are central to Mulholland Drive; the simulacra of Diane’s fantasy creating a synthetic form of real that conceals the dark and terrible veracities of her waking life. However, the artificial dream place of Diane’s disturbed mind is disjointed and fractured, therefore, just as the uncanny gives rise to an elusive sense of mystery and uncertainty, offering a fleeting glimpse of the tangible in something otherwise inexplicable, so too is the full intelligibility of Mulholland Drive kept at an obscure distance. Though the film offers a succession of clues to meaning, the key to any form of complete understanding lingers just beyond the grasp of certainty. Names, places, and identities are infused with doubt. Not only in relation to Betty/Diane and Rita/Camilla, but regarding a succession of other strange, inexplicable characters and events, one example being the recurrent presence of a terrifying looking vagrant (Bonnie Aarons). Figures such as this are clearly poignant to the narrative, but they are also impossibly enigmatic, inviting the audience to play detective in deciphering what they signify. Themes of doubling and mirroring are also used extensively. While these motifs serve to denote the split between waking and dream states, they also destabilise the narrative in relation to what is familiar and what is unfamiliar, further grounding Mulholland Drive in the uncanny. Since its publication in 1872, Carmilla has had a significant formative influence on the construct of the seductive yet deadly woman in her various manifestations. However, rarely has the novella been paid homage to as intricately as it is in Mulholland Drive. Lynch draws on Le Fanu’s archetypal Gothic horror story, combining it with the aesthetic conventions of film noir, in order to create what is ostensibly a contemporary, poststructuralist critique of the Hollywood dream-factory. Narratively and thematically, the similarities between the two texts are numerous. However, intertextual configuration is considerably more complex, extending beyond the plot and character structure to capture the essence of the Gothic, which is grounded in the uncanny — an evocative emotion involving feelings of dread, accompanied by a dream-like impression of familiar and unfamiliar commingling. Carmilla and Mulholland Drive bypass the heimlich, delving directly into the unheimlich, where boundaries between waking and dream states are destabilised, any sense of certainty about what is real is undermined, and feelings of desire are paradoxically conjoined with loathing. Moreover, Lynch mobilises all fundamental elements of cinema in order to capture and express the elusive qualities of the Unheimlich. In this sense, the uncanny lies at the very heart of the film. What emerges as a result is an enigmatic work of art that is as profoundly alluring as it is disconcerting. References Andrews, David. “An Oneiric Fugue: The Various Logics of Mulholland Drive.” Journal of Film and Video 56 (2004): 25–40. Baker, David. “Seduced and Abandoned: Lesbian Vampires on Screen 1968–74.” Continuum 26 (2012): 553–63. Baudrillard, Jean. Simulacra and Simulation. Michigan: U Michigan P, 1994. Bould, Mark, Kathrina Glitre, and Greg Tuck. Neo-Noir. New York: Wallflower, 2009. Castle, Terry. 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