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- W43416416 abstract "This central premise of this thesis is that Lars von Trier is a political director. Through adetailed formal analysis of five films I proceed to discuss the political implications ofform, something that has not been acknowledged by scholarship so far. In this thesis, Iemploy Brecht as a methodological tool so as to discuss the shift from a dialecticalcinema devoted to the production of knowledge effects, to a post-Brechtian one thatbrings together points of tension that remain unresolved.Chapter 1 proceeds to a historical evaluation of Brecht’s reception in film theory andconsiders the ways that Brecht’s theory and practice can address the cinematic andpolitical concerns of the present. The chapter also locates von Trier under the rubric of thepost-Brechtian by comparing him to past film practices.Chapter 2 moves to a discussion of von Trier’s Europa trilogy and focuses on issues ofhistorical representation. Emphasis is placed on formal elements that challenge thenarrative laws of classical cinema. The chapter argues that von Trier follows Brecht’smistrust of a historical representation based on pictorial verisimilitude, without howeversharing his forward-looking politics and his view of history as Marxist science.Chapter 3 discusses Dogme 95 and The Idiots (1998). Firstly, the chapter discussesDogme’s combination of a political modernist rhetoric with a realist one and placesDogme’s return to the past in a historical context. Secondly, the chapter considers the roleof performance as a formal and thematic element in The Idiots. I draw attention to theways that the camera becomes performative and brings together material of dramaturgicalimportance with moments that are the product of cinematic contingency. My discussion isvery much informed by contemporary post-Brechtian performance and film studiesinvested in the discussion of ‘corporeal cinema’.Chapter 4 discusses Dogville, a film with obvious references to Brecht. Unlike previousreadings, I shift the emphasis from the film’s assumed ‘Anti-Americanism’ and proceedto a formal analysis that can rethink the film’s politics and innovations.While Brecht has been thought to be as a fleeting presence in von Trier’s films by mostcritics, this thesis suggests that our knowledge of von Trier’s formal innovations can bedeepened and enlivened by discussing them in conjunction with Brecht’s theory. Byreturning to Brecht, we can also rethink the importance of form as the key to a film’spolitics." @default.
- W43416416 created "2016-06-24" @default.
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- W43416416 date "2011-12-12" @default.
- W43416416 modified "2023-09-26" @default.
- W43416416 title "'A film should be like a stone in your shoe': a Brechtian reading of Lars von Trier" @default.
- W43416416 hasPublicationYear "2011" @default.
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