Interview with Lars von Trier
Peter Schepelern and Lars von Trier
Lorenzo Javier Torres Hortelano
In Antichrist (Lars Von Trier, 2009), the inverted story of a modern-day Adam (He) and Eve (She) and the death of their son, we witness the deep wound that von Trier himself suffered when his mother revealed to him a truth. He would later reveal this truth to the general public, and I follow the film’s own allusive structure by returning to this revelation only at the end of this report.
Girlhood Identity in The Craft
calls out, “I can feel you in me! I am your daughter now.” This positions Nancy “in Christlike terms, but as a perversion, an anti-Christ of sorts” ( P. Thomas 2009: 225 ). Sarah and Nancy are depicted as opposite sides of the same coin. While Sarah does
According to constructivist theory a film cues us to apply a variety of schemata in mentally constructing a narrative and the diegetic world in which it takes place. But to what extent and with what degree of precision do we mentally construct time, space, causality, and the characters when we watch a film? We are not aware of the real world and our immediate environment much in excess of what our interests, needs, and desires are in any given situation. Similarly, we do not conceive of a complete fictional world when watching a film. Rather, a film cues us to fill in to the extent and with a precision that is relevant to our attempts at making sense of what is happening, often as focalized in terms of character interest. The cueing takes place through an interplay of what Thompson (1988) has defined as the realistic and the aesthetic background construction. This article outlines how this interplay functions to override apparent discrepancies in the material on the one hand, and to produce a variety of aesthetic effects on the other hand. Von Trier's Antichrist serves as an example of how the partial blocking of the filling in function can serve intriguing aesthetic purposes.
Phenomenology Encounters Cognitivism
: 10.5840/studphaen2016161 . 10.5840/studphaen2016161 Grodal , Torben . 2012 . “ Frozen Style and Strong Emotions of Panic and Separation: Trier's Prologues to Antichrist and Melancholia .” Journal of Scandinavian Cinema 2 ( 1 ): 47 – 53