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Un-Characterizing Madness The Semiotic Revolution of Donnie Darko

Un-Characterizing Madness The Semiotic Revolution of Donnie Darko

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constitutes an interesting piece <strong>of</strong> evidence: while the message<br />

itself was obviously <strong>Donnie</strong>’s intent, the handwriting belongs<br />

to Frank (we later see Frank’s handwriting from his note on<br />

the <strong>Darko</strong> refrigerator). This strange <strong>Donnie</strong>/Frank hybrid<br />

blurs the binary that appeared so fixed in <strong>Donnie</strong>’s bathroom.<br />

<strong>The</strong> viewer is reminded that even personal signifiers can be resignified.<br />

Essentially, there is always room for bricolage.<br />

<strong>The</strong> film continues to advocate this semiotic revolution,<br />

even when paralleling literary sources; consideration <strong>of</strong> these<br />

parallels gives light to the true nature <strong>of</strong> the bricoleur. <strong>The</strong> whole<br />

<strong>of</strong> <strong>Donnie</strong> <strong>Darko</strong>, for instance, relies heavily on the “mad world”<br />

<strong>of</strong> Lewis Carroll’s Through the Looking Glass – from <strong>Donnie</strong><br />

following the “white rabbit” to a realm <strong>of</strong> the supernatural, to<br />

Middlesex’s dance team’s bunny costumes (Mathews 42) 3 . Belsey,<br />

for example, draws attention to the semiological weight <strong>of</strong> the<br />

dialogue between Alice and Humpty Dumpty. 4 In a discussion<br />

with the giant egg about ‘unbirthdays,’ Alice is confused by<br />

Humpty’s statement concerning the potential abundance <strong>of</strong><br />

these “unbirthday” presents: “there’s glory for you!” he exclaims.<br />

Slightly confused, Alice responds: “I don’t know what you mean<br />

by glory.” Trying to lessen her confusion, Humpty opts to<br />

rephrase: “I meant ‘there’s a nice knock-down argument for you!’”<br />

Alice’s bewilderment, though, has only escalated by this point:<br />

“but ‘glory’ doesn’t mean ‘a nice knock-down argument,’” she<br />

exclaims. Here the reader finds Humpty Dumpty’s momentous<br />

3 Mathews stresses the importance <strong>of</strong> laying <strong>Donnie</strong> <strong>Darko</strong> aside Through<br />

the Looking Glass to further understand Carroll’s work. Here, the allusions to<br />

Carroll that Mathews articulates help to further understand <strong>Donnie</strong>.<br />

4 <strong>The</strong> relation <strong>of</strong> Through the Looking Glass to these central concepts<br />

<strong>of</strong> structural linguistics and semiology is found in Catherine Belsey’s<br />

Poststructuralism: A Very Short Introduction.<br />

UN-CHARACTERIZING MADNESS [ 79 ]

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