Journal articles: 'Lars von'

1

Bigelow, Ben. "Lars von Trier." Scandinavian Studies 84, no. 1 (April 1, 2012): 108–15. http://dx.doi.org/10.2307/23343482.

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Sáez-González, Jesús Miguel. "Melancolía (Lars von Trier)." Vivat Academia, no. 117 (December 15, 2011): 147. http://dx.doi.org/10.15178/va.2011.117.147-148.

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Parly, Nila. "Lars von Trier’s Lost Ring." Cambridge Opera Journal 30, no. 1 (March 2018): 1–28. http://dx.doi.org/10.1017/s0954586718000071.

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AbstractIn 2002, film director Lars von Trier agreed to stage Richard Wagner’s Ring cycle in Bayreuth. The project was abandoned, however, after two years of preparation. For this article’s research, I conducted interviews with key persons involved with the project, not least Lars von Trier himself, and I was given access to unseen materials (documents, videotapes and other items) from the archives of Lars von Trier’s film company, Zentropa, which shed light both on the director’s plans for the production and on the process that would eventually spell the end of the project. The materials, however, turned out to illuminate not only what the opera world lost, but also what von Trier’s later films gained from his immersion into Wagner’s creative world. In this article I seek to map both the ill-fated process and explore the later benefits from it in the films Antichrist (2009), Nymphomaniac (2013) and, above all, Melancholia (2011), with its echoes of Wagner’s apocalyptic Götterdämmerung.

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Giannopoulou, Zina. "Framing Lars von Trier’s Medea." Classical Receptions Journal 12, no. 3 (January 20, 2020): 375–99. http://dx.doi.org/10.1093/crj/clz032.

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Abstract Lars von Trier’s Medea renders on the silver screen Carl Th. Dreyer’s unrealized script from Euripides’ play. Von Trier considers Dreyer one of his greatest cinematic influences and fashions his film as a ‘personal interpretation and homage to the master’. Two prominent narrative features of Dreyer’s cinematic oeuvre are a cause/effect logic and parallelism, which create formally rigid and closed worlds governed by an abstract, impersonal order. Von Trier applies these features especially to the frame of Medea in order to enhance the theodicy of Euripides’ tragedy and Dreyer’s adaptation of it. He also plays games of cinematic reflexivity in conscious or unconscious competition with Dreyer. Finally, his directorial virtuosity manifests itself most spectacularly in the editing of the film’s frame, which arranges the segments of the prologue and the epilogue so as to engage reception as a temporal activity rooted in the past, undertaken in the present, and directed to the future.

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Sáez González, Jesús Miguel. "Anticristo de Lars von Trier." Vivat Academia, no. 108 (September 15, 2009): 62. http://dx.doi.org/10.15178/va.2009.108.62-63.

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Fresneda Delgado, Iratxe. "La Medea de Lars von Trier." Fotocinema. Revista científica de cine y fotografía, no. 6 (March 17, 2013): 55–75. http://dx.doi.org/10.24310/fotocinema.2013.v0i6.5909.

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El presente artículo analiza el modo en el que Lars von Trier recrea para el cine el estereotipo de Medea. Mediante el análisis fílmico de la película y apoyándose en los estudios culturales, el texto se interroga acerca de la importancia y el poder potencial del cine a la hora recuperar el antiguo mito y demostrar su vigencia. El análisis amplía horizontes para la compresión de los mecanismos que articulan el entramado de significados de la película, donde Von Trier aporta una nueva visión del arquetipo de Medea uniéndola, a la tradición pictórica del Romanticismo. Una influencia que habita en las posteriores obras del director danés, donde el paisaje, la naturaleza, se erige en elemento catalizador de las pulsiones humanas, en su cómplice y testigo. Abstract: This paper explores the way that Lars von Trier’s film recreates the stereotype of Medea. Using film analysis and based on cultural studies the article asks about the importance and potential power of cinema to recover the ancient myth and show their effects. The analysis expands horizons for the understanding of the mechanisms that link the network of meanings of the film, where the author offers a new vision of Medea's archetype attaching it to the pictorial tradition tied to the Romanticism. An influence that can be seen in the later works of Lars von Trier, where the landscape, the nature, stands as a catalyst of human drives, as his accomplice and witness.Palabras clave: Medea; análisis fílmico; cine; estudios de género; mitos Keywords: Medea; film analysis; cine; gender studies; myths

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Schirmer, Jan-Erik. "Diskussionsbericht zum Referat von Lars Klöhn." Archiv für die civilistische Praxis 216, no. 1-2 (2016): 320. http://dx.doi.org/10.1628/000389916x14630520754872.

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Sabbadini, Andrea. "Erotomania according to Lars von Trier." Psychoanalytic Psychology 33, no. 2 (2016): 364–70. http://dx.doi.org/10.1037/pap0000040.

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9

Bigelow, Ben. "Lars von Trier (review)." Scandinavian Studies 84, no. 1 (2012): 108–15. http://dx.doi.org/10.1353/scd.2012.0005.

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10

Figlerowicz, Marta. "Comedy of Abandon: Lars von Trier's Melancholia." Film Quarterly 65, no. 4 (2012): 21–26. http://dx.doi.org/10.1525/fq.2012.65.4.21.

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The piece reviews Lars von Trier's Melancholia (2011). This film marks a break with von Trier's prior work. Rather than push its plot to the limits of emotional intensity and gravity, Melancholia studies and comically questions our sense of feelings’ proportion and scale.

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11

Probst, Christof, Tobias Buck, and Annemarie Ziegler. "Lebenskompetenz mit LARS & LISA." Pädagogik, no. 10 (October 2, 2023): 16–19. http://dx.doi.org/10.3262/paed2310016.

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Für die Förderung von Lebenskompetenzen stehen zahlreiche, auch wissenschaftlich evaluierte und damit prinzipiell wirksame Programme zur Verfügung. Wie bringt man ein derartiges Programm an der eigenen Schule zum Laufen? Erfahrungen aus einem Pilotversuch in Baden-Württemberg.

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12

Soikkeli, Martti. "In Memoriam: Lars von Haartman, 1919-1998." Auk 117, no. 4 (October 2000): 1029–30. http://dx.doi.org/10.2307/4089642.

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Soikkeli, Martti. "In Memoriam: Lars von Haartman, 1919–1998." Auk 117, no. 4 (October 1, 2000): 1029–30. http://dx.doi.org/10.1093/auk/117.4.1029.

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14

Giannopoulou, Zina. "Erratum to: Framing Lars von Trier’s Medea." Classical Receptions Journal 12, no. 3 (February 19, 2020): 400. http://dx.doi.org/10.1093/crj/claa001.

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15

Noack, Bernd. "Revolutionen ohne Kinder." Theater heute 65, no. 7 (2024): 52–53. http://dx.doi.org/10.5771/0040-5507-2024-7-052.

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Albrecht, Tobias. "Lars Rensmann und Samir Gandesha: Arendt and Adorno." Zeitschrift für philosophische Literatur 3, no. 2 (May 27, 2015): 1–9. http://dx.doi.org/10.21827/zfphl.3.2.35356.

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17

Bunch, Mads. "Behind Idealism: The Discrepancy between Philosophy and Reality in The Cinema of Lars von Trier." Scandinavian-Canadian Studies 19 (December 1, 2010): 144–63. http://dx.doi.org/10.29173/scancan54.

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ABSTRACT: “All my life I’ve been interested in the discrepancy between philosophy and reality, between conviction and its implementation.” (Lars von Trier, 2005) Most scholarly attention has so far been directed towards the elements of form and cinematography in Lars von Trier’s work. In this paper I will instead focus on the thematic and philosophical qualities of his work. Through analysis of protagonist types and plot structures, I will show how “the discrepancy between philosophy and reality” functions as a central underlying structure in the films. But also how this discrepancy shifts according to gender and over time in von Trier’s later production. I will also examine von Trier’s ties to nineteenth-century Scandinavian drama and German philosopher Friedrich Nietzsche. These are important connections which have as yet not received the attention they deserve.

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Goetzmann, Lutz, Hilmar Schmiedl-Neuburg, and Barbara Ruettner. "Passionen des Realen in Lars von Triers Filmkunst." PSYCHE 70, no. 12 (December 2016): 1135–58. http://dx.doi.org/10.21706/ps-70-12-1135.

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19

Antunes Torres, Jessé. "FEMININO MALDITO EM ANTICRISTO, DE LARS VON TRIER." Téssera 4, no. 1 (January 16, 2022): 132–52. http://dx.doi.org/10.14393/tes-v4n1-2021-63364.

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Este ensaio propõe uma leitura do filme Anticristo, de 2009, escrito e dirigido por Lars von Trier, a partir da teoria do imaginário, entendida aqui a partir dos estudos de Durand (2012). Nesse movimento de leitura, este trabalho se aproxima metodologicamente da mitocrítica, embora não a estejamos seguindo à risca. O cinema é tomado enquanto uma tecnologia do imaginário, na medida em que mobiliza imagens e afetos. O filme escolhido é especial, pois opera numa lógica simbólica e imagética, psicanalítica, abandonando o “realismo” para dar lugar ao devaneio, ao sonho e às manifestações do inconsciente. A partir da análise, evidencia-se que regendo o filme encontra-se o imaginário de um feminino maldito herdado dos mitos fundadores judaico-cristãos (Lilith, Eva), que culmina, na Idade Moderna, na figura da bruxa.

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20

Kruger, Patrícia. "Apropriações literárias em Anticristo, de Lars von Trier." Revista Crítica Cultural 8, no. 2 (December 1, 2013): 275. http://dx.doi.org/10.19177/rcc.v8e22013275-286.

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Procuramos mostrar aqui como o filme Anticristo (Antichrist, 2009) do cineasta dinamarquês Lars von Trier pode ser analisado atentando-se para suas apropriações literárias. Destacaremos, assim, as relações que o filme estabelece com as elaborações estéticas e algumas obras do dramaturgo sueco August Strindberg e do dramaturgo alemão Bertolt Brecht. Também nos propomos a investigar como o estudo do foco narrativo apresentado pelo filme permitiria uma leitura destoante das que o filme tem recebido e como ferramentas da crítica literária possibilitariam apontar na obra uma armadilha ideológica central para sua interpretação.

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21

Sáez-González, Jesús Miguel. "El jefe de todo esto (Lars von Trier)." Vivat Academia, no. 85 (May 15, 2007): 17. http://dx.doi.org/10.15178/va.2007.85.17.

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22

Minor, R. "Introduction to Lars von Trier's "Deed of Conveyance"." Opera Quarterly 23, no. 2-3 (October 8, 2008): 338–40. http://dx.doi.org/10.1093/oq/kbn039.

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23

Weisæth, Lars, and Sabine Woskobojnik. "Kritischer Kommentar von Lars Weisæth (Oslo) zum Geleit." Psychosomatik und Konsiliarpsychiatrie 2, no. 4 (November 2008): 184–85. http://dx.doi.org/10.1007/s11800-008-0123-3.

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Huunan-Seppälä, Henriikka. "The Lacanian Real in Lars von Trier's Antichrist." Research in Arts and Education 2014, no. 2 (September 1, 2014): 10–22. http://dx.doi.org/10.54916/rae.118792.

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25

Thomsen, Bodil Marie. "De remedierede rum og kroppe i Lars von Triers Dogville." Peripeti 2, no. 4 (December 2, 2021): 87–94. http://dx.doi.org/10.7146/peri.v2i4.107504.

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26

Sulkowski, Udo, and Rudolf Mennigen. "Das Low anterior Resection Syndrome (LARS)." Zentralblatt für Chirurgie - Zeitschrift für Allgemeine, Viszeral-, Thorax- und Gefäßchirurgie 144, no. 04 (February 5, 2019): 419–25. http://dx.doi.org/10.1055/a-0754-2482.

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Zusammenfassung Hintergrund Mit einem 5-Jahres-Überleben von mittlerweile 80% rückt die postoperative Lebensqualität nach onkologischer Rektumresektion zunehmend in den Fokus des Interesses. Das Low anterior Resection Syndrome (LARS) fasst die postoperative Morbidität infolge des operativen Eingriffes zusammen. Material und Methode Es wurde eine selektive Literaturrecherche durchgeführt, um das Bild des LARS näher zu definieren und Verständnis für seine Pathophysiologie, Diagnose, Therapie und Prophylaxe zu entwickeln. Ergebnisse LARS wird in bis zu 80% nach allen stomavermeidenden operativen Eingriffen beobachtet, die beim Rektumkarzinom durchgeführt werden. Die Kapazität des Rektumstumpfes wie auch die Verletzung nervaler Strukturen scheinen die wichtigsten pathogenetischen Faktoren zu sein, die zu einer signifikanten Einschränkung der Lebensqualität führen. Schlussfolgerungen Es existieren verschiedene therapeutische Ansätze, um die Konsequenzen des LARS beim einzelnen Patienten abzuschwächen. Nichtsdestotrotz wird in der Zukunft noch viel Arbeit notwendig sein, um nicht nur das Überleben, sondern auch die Lebensqualität nach einem Rektumkarzinom zu verbessern.

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Hortelano, Lorenzo Javier Torres. "Grief and Truth at the Beginning: Lars von Trier’s Antichrist." Screen Bodies 3, no. 2 (December 1, 2018): 79–85. http://dx.doi.org/10.3167/screen.2018.030206.

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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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Huda, Mutiara Azkiyatunnuril, and Taufan Hidayatullah. "Representation of Ophelia's Painting in the Scene of Melancholia Movie 2011." ARTic 5, no. 2 (June 15, 2023): 527–35. http://dx.doi.org/10.34010/artic.v5i2.10901.

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Sir John Everett's Ophelia is a very famous painting. The object of the painting is the death of Ophelia, a character taken from Shakespeare's Hamlet. This painting has inspired many artists and filmmakers to use its visualization as inspiration. Research on the visualization of Ophelia's death has never been done, especially with the use of the tableau vivant technique in the object of research of Lars Von Trier's 2011 film Melancholia. based on this, the purpose of this study is to determine the role of the tableau vivant technique in the field of cinema. Especially its role in the representation of the painting "Ophelia" by Sir John Everett Millais by director Lars Von Trier in the scene of the 2011 film "Melancholia". Trier with his creativity uses the technique with his specialty. It is important to discuss this as a reference in making cinema works by utilizing paintings that were present before. The analysis is done with the main theory of tableau vivant so that its role as a representation technique is visible. The theory of film cinematic elements (mise en scène and cinematography) to support the main theory, describing how the elements in the film represent the painting. Data collection techniques are carried out by means of observation and literature study related to the object of the movie scene that shows the representation of painting, and the painting it represents. The results of the analysis are how the creative use of tableau vivant technique by Lars Von Trier plays a role in representing Ophelia's painting in the scene of the movie Melancholia in 2011 through its cinematic elements. With this research, filmmakers are able to make Trier's creativity using the tableau vivant technique as a reference in making movie scenes inspired by works of art. Keywords: Film; Lars Von Trier; Melancholia; Ophelia; Tableau Vivant

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29

Stępnik, Małgorzata. "The House that Lars Built. The Architecture of Transgression." Arts 9, no. 4 (December 8, 2020): 127. http://dx.doi.org/10.3390/arts9040127.

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This article discusses the motif of the “architecture of transgression”, which is present most implicitly, in Lars von Trier’s The House that Jack Built. The analysis concerns both the construction of cinematic narrative itself and the subtle allusions, inserted in the script, to two architectural metaphors: the Nietzschean (and Jungian) labyrinth and the Heideggerian die Hütte. Von Trier’s film may be read as an oeuvre immersed in literary tradition—from Dante’s Divine Comedy to the modern Bildungsroman—as well as inspired by modern philosophy, particularly George Bataille’s philosophy of transgression, (as expound in his Erotism and his short 1929 essay on Architecture).

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30

Rufinoni, Simone Rossinetti. "Figurações da mulher no cinema de Lars von Trier." Via Atlântica, no. 31 (December 20, 2017): 285. http://dx.doi.org/10.11606/va.v0i31.129626.

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Partindo-se da recorrência de protagonistas mulheres na filmografia do diretor Lars von Trier, este artigo procura analisar os significados possíveis das personagens e narrativas. A partir da presença do mito de Medeia, passando pelas releituras da noção de sacrifício até o momento em que a personagem feminina encarna a alegoria da aventura humana em face do fracasso das utopias, o Outro assume a condição de homo faber.

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Yılmaz, Tuğba, and Burhan Yılmaz. "Lars Von Trier’in Antichrist Filminin Görsel ve Psikolojik Analizi." Ayna Klinik Psikoloji Dergisi 1, no. 3 (October 1, 2014): 60–71. http://dx.doi.org/10.31682/ayna.470588.

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32

Sharrett, Christopher. "Woman Run Amok: Two films by Lars von Trier." Film International 10, no. 6 (December 1, 2012): 12–36. http://dx.doi.org/10.1386/fiin.10.6.12_1.

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33

Detrixhe, Jonathan J. "Lars von Trier’s Nymphomaniac: Vol. I as psychotherapy manual." Psychoanalysis, Culture & Society 22, no. 1 (March 2017): 52–68. http://dx.doi.org/10.1057/pcs.2015.55.

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34

Laine, Tarja. "Lars von Trier,Dogvilleand the hodological space of cinema." Studies in European Cinema 3, no. 2 (November 13, 2006): 129–41. http://dx.doi.org/10.1386/seci.3.2.129_1.

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35

Girardot, Dominique. "Dogvillede Lars von Trier, ou la parabole du don." Revue du MAUSS 46, no. 2 (2015): 319. http://dx.doi.org/10.3917/rdm.046.0319.

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Noheden, Kristoffer. "Hypnotic ecology: Environmental melancholia in Lars von Trier’s films." Journal of Scandinavian Cinema 8, no. 2 (June 1, 2018): 135–48. http://dx.doi.org/10.1386/jsca.8.2.135_1.

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Buch-Hansen, Gitte. "Lars von Trier’s Antichrist, the Bible, and Docetic Masculinity." Relegere: Studies in Religion and Reception 1, no. 1 (2011): 115–44. http://dx.doi.org/10.11157/rsrr1-1-5.

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Wolf, Reinhard, Lars Freudenthal, and Annette Freudenthal. "Rezension von: Freudenthal, Lars; Freudenthal, Annette, Historische Pfade Schwäbische Alb." Schwäbische Heimat 73, no. 3 (November 15, 2022): 77. http://dx.doi.org/10.53458/sh.v73i3.4438.

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Lars und Annette Freudenthal: Historische Pfade Schwäbische Alb – 30 Wanderungen zu Orten mit Geschichte Bruckmann Verlag München 2021. 160 Seiten. Taschenbuch, flexibler Umschlag 19,99 €. ISBN 978-3-7343-1818-4

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Silva, João Nunes, and Lívia Sampaio. "A CULPA É DA MULHER: O Anticristo, de Lars von Trier." Revista Observatório 2, no. 3 (August 31, 2016): 43. http://dx.doi.org/10.20873/uft.2447-4266.2016v2n3p43.

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RESUMO O Anticristo, filme de Lars von Trier, lançado em 2009, mostra o desespero de um casal ao perder seu único filho. Extremamente polêmico e repleto de referências bíblicas - a começar pelo título -, é um filme que choca pelo incessante desespero de uma mãe em luto que parece carregar o peso do mundo em sua condição de mulher. A proposta deste artigo é fazer uma análise deste filme iluminando a culpa cristã historicamente atribuída à mulher e seus desdobramentos imediatos, como o feminicídio. PALAVRAS-CHAVE: Análise Fílmica; Cristianismo; Feminicídio; O Anticristo. ABSTRACTAntichrist, film of Lars von Trier, released on 2009, shows the the despair of a couple to lose their only son. Extremely controversial and fraught with biblical references - beginning with the title -, it’s a film that shocked the unyielding despair a bereaved mother that seems to carry the weight of the world on his wife's condition. The purpose of this paper is to analyze of this film illuminating the christian guilt historically attributed to the woman and their immediate consequences, like the feminicide. KEYWORDS: Filmic Analysis; Christianity; Feminicide; Antichrist. RESUMEN Anticristo, pelicula de Lars von Trier, lanzada em 2009, muestra el desespero de una pareja cuando pierde su único hijo. Extremadamente polémica y llena de referencias bíblicas - empezando con el título -, es una película que sorprende al inquebrantable desesperación de una madre em luto que parece cargar el peso del mundo por ser mujer. El objetivo de este artículo es analizar esta película iluminando la culpa cristiana históricamente asignada a las mujeres y sus consecuencias inmediatas, como el feminicidio. PALABRAS CLAVE: Análisis fílmica; Cristianismo; Feminicidio; Anticristo.

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Borba, Raphael Galuppo. "Uma análise fenomenológica do filme “Melancolia”, de Lars Von Trier." Revista Psicopatologia Fenomenológica Contemporânea 5, no. 1 (October 17, 2016): 41–52. http://dx.doi.org/10.37067/rpfc.v5i1.987.

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O presente trabalho tem como objetivo propor uma análise fenomenológica do filme “Melancolia”, de Lars Von Trier, com o intuito principal de se debruçar sobre o psicodiagnóstico de uma das personagens do filme: Justine. Para isso, serão retomadas contribuições de autores do campo da psicopatologia fenomenológica, tais como Tellenbach, Dörr e Tatossian, que permitirão a abordagem da personagem fictícia em relação aos conceitos de Typus Melancholicus e de melancolia.

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Höfler, Günther A. "Angustia socialis. O literackiej fizjologii lęku w twórczości Stefana Zweiga, Marlene Streeruwitz i Clemensa Setza." Transfer. Reception Studies 8 (December 29, 2023): 23–35. http://dx.doi.org/10.16926/trs.2023.08.08.

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Mit dem Aufsatz werden Manifestationen der Angst in der Literatur und ihre Funktionen unter Einbeziehung soziologischer Befunde von Heinz Bude und Lars Koch thematisiert. Die Analysen der repräsentativen literarischen Texte von Stefan Zweig, Marlene Streeruwitz und Clemens Setz veranschaulichen Formen und Ursachen der gesellschaftlichen Absturzängste, mit Fokus auf Frauenexistenzen und objektlose Angst. Im Beitrag werden existenzielle Angstsemantiken erarbeitet.

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Varnholt, Hendrik. "Griesson-Chef geht nach acht Monaten." Lebensmittel Zeitung 74, no. 9 (2022): 14. http://dx.doi.org/10.51202/0947-7527-2022-9-014-1.

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An der Spitze des Prinzenrolle-Herstellers Griesson-de Beukelaer herrscht abermals Unruhe: Das Unternehmen hat sich überraschend vom Vorsitzenden seiner Geschäftsführung, Lars Engel, getrennt. Engel war erst im Juli von Bahlsen zu Griesson gewechselt.

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43

Otten, Jürgen. "WUNDERTÜTE am WESERSTRAND." Opernwelt 65, no. 7 (2024): 60–63. http://dx.doi.org/10.5771/0030-3690-2024-7-060.

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Oper in BREMERHAVEN? Keine leichte Übung. Doch Intendant Lars Tietje und sein Team sorgen mit einem klugen Spielplan und kommunikativem Geschick dafür, dass die Menschen ihr Stadttheater weiterhin lieben. Eine Reportage VON JÜRGEN OTTEN

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44

Ravetti, Graciela. "Em estado de tradução: Manuel Puig e Lars von Trier." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 232–40. http://dx.doi.org/10.17851/2317-2096.8..232-240.

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Resumo: Leitura de dois textos (La traición de Rita Hayworth, romance de Manuel Puig e Dancer in the dark, filme de Lars von Trier) nos quais é possível capturar de que maneira certas formas como a dos musicais melodramáticos — muito difundidas e já clássicas do fazer cinematográfico hollywoodiano — foram recepcionadas por pessoas que viviam em sociedades periféricas, estigmatizadas por carências econômicas e culturais, entre outras. Trabalha-se também com a possibilidade de reconstruir hipoteticamente o modo como essas formas e suas significações, habitualmente rotuladas de alienantes, foram transformadas em instrumentos, se não de liberação, pelo menos de consolo e de alimento nas horas de resistência à dor e ao sofrimento humanos.Palavras-chave: cinema; literatura; América Latina; pós-colonialismo.Abstract: This paper presents a reading of two texts, namely La traición de Rita Hayworth, Manuel Puig’s novel, and Dancer in dark, a film by Lars von Trier. This analysis aims at an investigation of the reception of the already widespread classical style of Hollywood movies, like the musical melodrama, by those who live in peripheral societies, marginalized by economic and cultural lack, among others. It deals with the possibility of reconstructing hypothetically the way these forms and their significance, generally labelled as alienating, were transformed into instruments, if not of liberation, at least of solace and nurturing in moments of resistance to pain and human suffering.Keywords: movies; literature; Latin America; post-colonialism.

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Marino, Sara. "Review of Politics as Form in Lars von Trier: A Post-Brechtian Reading." CINEJ Cinema Journal 3, no. 2 (October 13, 2014): 239–43. http://dx.doi.org/10.5195/cinej.2014.106.

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Controversial and unconventional designer of formal experimentations, simultaneously celebrated and despised around the world, performative to a point that realism is achieved through the manipulation of realistic conventions hidden in everyday forms of human interactions, von Trier is indeed one of the most important contemporary filmmakers within European cinema, as well as the protagonist of Koutsourakis’s Politics as Form in Lars von Trier: A Post-Brechtian Reading.

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Azeredo, Vânia Dutra. "O que são ideais ascéticos? Dogville: a imagem invertida." Discurso 48, no. 2 (October 8, 2018): 177–86. http://dx.doi.org/10.11606/issn.2318-8863.discurso.2018.150925.

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Neste artigo, utilizaremos os conceitos nietzschianos de ideais ascéticos, ressentimento e moral de rebanho visando mostrar o entrelaçamento apontado por Nietzsche entre humanidade e doença a partir de uma leitura do filme Dogville de Lars Von Trier.

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Kon, Vyacheslav. "Lars von Trier’s Apocalyptic Consciousness in the Anthropology of the House That Jack Did Not Build." Ideas and Ideals 16, no. 1-2 (March 26, 2024): 429–54. http://dx.doi.org/10.17212/2075-0862-2024-16.1.2-429-454.

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The subject of the study is the concept of the historical hero as a victor of the gods and his role in contemporary Western cultural heritage, with a focus on the reinterpretation of Scandinavian culture in the works of Lars von Trier. The research methodology is based on the analysis of Hollywood’s reception of neo-European rationalism and the ideas of individualism and free will in European culture. The author examines the inﬂuence of the implementation of freedom without morality on the exploration of the idea of the Übermensch (superman) and discusses unresolved questions in this context. The research ﬁndings highlight the importance of the themes of personal responsibility and freedom in Western culture, as well as the legacy of Scandinavian culture as a source of the manifestation of truths. The conclusions of the study emphasize the relevance and signiﬁcance of the discussed issues in the contemporary cultural context. The main goal of the research is to identify the consistent stages of Lars von Trier’s apocalyptic consciousness, particularly in the context of resistance to the colonization of art by ontological philosophy and the dominance of Hollywood clichés and political sentiments in the ﬁlm market. This work conducts a methodological investigation into how Lars von Trier applies the philosophy of images through cinematography as a tool to separate false and immaculate representations of the world, with a focus on the problem of sin in his composition. This work methodologically explores this process and analyzes how it interacts with contemporary culture and cinema. In the context of the scientiﬁc novelty of the research, a question arises about Lars von Trier describing himself as a ‘sadistic doctor’ who saves lives but remains, in the eyes of those saved, an antichrist and a criminal in the humanistic world and humanity’s defense of a world different from the existing one. The results of this research can be used to study philosophical anthropology in the ﬁeld of ﬁlm studies and visual arts, as well as in related social and humanitarian disciplines, to analyze how this theme interacts with culture and society.

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Zaksaitė, Salomėja. "Violence, Pregnant with Peace: Criminological Reading of Lars von Trier." Kriminologijos studijos 9 (October 7, 2022): 151–72. http://dx.doi.org/10.15388/crimlithuan.2021.9.6.

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In this article, the works of cinema director Lars von Trier are invoked as an instrument to explain various criminological theories. Mostly, the approach of cultural criminology is applied as well as other perspectives: dramaturgical-existential approach, peacemaking, and (anti)positivism. Both because of the topics presented (such as transgressing and questioning the socially acceptable norms, violence, fear, humiliation, deviant sexuality, despair, etc.) and the methodology of the filmmaking process, the self-labelled ‘best director in the world’ can be quite rightly described as one of the most thought-provoking criminologists in Europe. Paradoxically, ideas presented in his films, though seemingly violent and destructive, might be inspirational for those who seek peace and enlightenment.

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Roussille, Marie-Amélie, and Bénédicte Vidaillet. "Melancholia. À propos du film de Lars von Trier (2011)." Savoirs et clinique 29, no. 2 (September 28, 2022): 183–87. http://dx.doi.org/10.3917/sc.029.0183.

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Denli, Özlem. "Political Claustrophobia in Lars von Trier’s Europa and America Trilogies." CINEJ Cinema Journal 7, no. 1 (December 21, 2018): 225–37. http://dx.doi.org/10.5195/cinej.2018.218.

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This essay aims to trace the specific kind of political pessimism, that can be termed ‘political claustrophobia’ underlying the filmography of the Danish director Lars von Trier. Elements of this worldview are traced by analyzing two clusters of films categorized under Europa and America trilogies; namely, The Element of Crime, Epidemic, Europa, Dogville and Manderlay. Trier portrays a particularly bleak picture of the European civilization in the aftermath of the II World War. An equally claustrophobic outlook also characterizes his depiction of the life and relationships in American small towns during the 1930s. In both settings, attempts at reform and change are thwarted by entrenched social reality; leading the audience to the conclusion that there can be no political outside to the existing world.

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Journal articles on the topic 'Lars von'

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