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Peter Schepelern and Lars von Trier

Interview with Lars von Trier

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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.

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Putting the Culture into Bioculturalism

A Naturalized Aesthetics and the Challenge of Modernism

Dominic Topp

Greengrass, M. Night Shyamalan, and, yes, Spielberg), but also the European art cinema of Carl Theodor Dreyer, Lars von Trier, and Julio Medem along with films by non-Western directors such as Takeshi Kitano and Wong Kar-Wai, and the work of experimental

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Gianni Barchiesi, Laura T. Di Summa, Joseph G. Kickasola, and Peter Verstraten

-en-scène , his use of lightning, color, music, etc.? And if I may suggest an even more challenging case: Lars von Trier used a quasi-documentary style as a filter for the deliberately ridiculous plot of his Breaking the Waves (1996)—yet viewers were deeply

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Elemental Imagination and Film Experience

Climate Change and the Cinematic Ethics of Immersive Filmworlds

Ludo de Roo

thematically rich background to a much wider set of films, even in films with no explicit environmentalist theme. 11 With films as diverse as Titanic (James Cameron, 1997), Melancholia (Lars von Trier, 2011), and The Hunger Games (Gary Ross, 2012), the

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Jens Eder

Fincher, 1999), Adaptation (Spike Jonze, 2002), Synecdoche, New York (Charlie Kaufman, 2008), Helen (Sandra Nettelbeck, 2009), Melancholia (Lars von Trier, 2011), as well as television movies like Deine besten Jahre (Dominik Graf, 1999) and

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Editorial

Situating Screen Bodies

Brian Bergen-Aurand

number of articles on film sound, musicality, and embodied screen experience; examinations of films by Michael Haneke, Barbara Hammer, Darren Aronofsky, Lars von Trier, Jim Chuchu, and Naomi Kawase; and speculative articles on constructions of the

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Monstrous Masses

The Human Body as Raw Material

John Marmysz

interpretations and reconfigurations. In Lars Von Trier’s four-hour sexual epic Nymphomaniac , we find yet another exploration of this idea. However, whereas in The Human Centipede we are introduced to people whose bodies are used against their wills, in