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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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Henry Bacon

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.

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

ironic critiques because of Sirk's mise-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

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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

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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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Minestrone Stories

Teaching anthropology through serendipitous cultural exchanges

Regnar Kristensen

students’ fieldwork training. 6 ‘Dogme 95 was a Danish filmmaking movement started in 1995 by the Danish directors Lars von Trier and Thomas Vinterberg, who created the “Dogme 95 Manifesto” and the “Vows of Chastity”. These were rules to create filmmaking

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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