Cantitate/Preț
Produs
Total produse
Vezi coșul
Politics as Form in Lars von Trier: A Post-Brechtian Reading de Dr Angelos Koutsourakis

Politics as Form in Lars von Trier: A Post-Brechtian Reading

Autor Dr Angelos Koutsourakis
en Limba Engleză Paperback – 17 iun 2015
This is the first study that employs a materialist framework to discuss the political implications of form in the films of Lars von Trier. Focusing mainly on early films, Politics as Form in Lars von Trier identifies recurring formal elements in von Trier's oeuvre and discusses the formal complexity of his films under the rubric of the post-Brechtian. Through an in depth formal analysis, the book shows that Brecht is more important to von Trier's work than what most critics seem to acknowledge and deems von Trier as a dialectical filmmaker. This study draws on many untranslated resources and features an interview with Lars von Trier, and another one with his mentor - the great Danish director Jørgen Leth.
Citește tot Restrânge

Toate formatele și edițiile

Toate formatele și edițiile Preț Express
Paperback (1) 21763 lei  43-57 zile
  Bloomsbury Publishing – 17 iun 2015 21763 lei  43-57 zile
Hardback (1) 82705 lei  43-57 zile
  Bloomsbury Publishing – 18 dec 2013 82705 lei  43-57 zile

Preț: 21763 lei

Preț vechi: 24540 lei
-11% Nou

Puncte Express: 326
Preț estimativ în valută:
4165€ • 4341$ • 3468£

Carte tipărită la comandă

Livrare economică 06-20 ianuarie 25

 Adaugă în coș

Wish list
Gift list
Am citit!
Adaugă în listă
Preluare comenzi: 021 569.72.76

Specificații

ISBN-13: 9781501307690
ISBN-10: 150130769X
Pagini: 264
Ilustrații: 25 bw illus
Dimensiuni: 152 x 229 x 20 mm
Greutate: 0.41 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:New York, United States

Caracteristici

Contains a personal interview with Lars von Trier, covering politics and aesthetics

Notă biografică

Angelos Koutsourakis is the author of Politics as Form in Lars von Trier (Bloomsbury, 2013, 2016) and the co-editor of The Cinema of Theo Angelopoulos (2015). His work has appeared in Cinema Journal, Film Criticism, SubStance: A Review of Theory and Literary Criticism, Monatshefte für deutschsprachige Literatur und Kultur, New Review of Film and Television Studies, Journal of Contemporary European Studies, Image and Narrative, Studies in European Cinema, Cinema: Journal of Philosophy and the Moving Image, and many more.His next book Rethinking Brechtian Film Theory and Cinema (2018).

Cuprins

Preface and AcknowledgementsNotes to the TextForeword: Looking Back 1. From Brechtian to Post-Brechtian Cinema. Lars von Trier and the Post-Brechtian Brecht on the Film MediumBrecht's Critique of the Institution of CinemaWhat is Post-Brechtian Cinema?Locating von Trier in the post-BrechtianChallenging the Cinematic InstitutionArtaudian Cruelty as Verfremdungseffekt 2. Historical Fragments in the Europa Trilogy Europe is PainfulBeyond the FabelAudiovisual Plenitude: the Individual in Crisis Dialectical Images Literalization of the Medium: the Essay as FormHistory as TransitionOn Film Voyeurism 3. The Primacy of the ApparatusBack to the 1970s? Dogme 95 Realism and Anti-Illusionism Technology and ProductivityThe Idiots: Performant Function and Performative CameraInterrupting the NarrativePerformance as FormCharacters as Bodily EffectsPerforming out of CharacterReflections on the Primacy of the Apparatus: Post-Dogme Developments, Rules and Automavision 4. Dogville and Manderlay: Experimentation and Dialectical NegationsRepresentation as an ExperimentExperimentation as PedagogyTheatricality: Attitudes in SpacePerformative ContradictionsNarrative Openness as Negative DialecticsEpilogue: Dialogue with the 'Dissensual' PastAppendix:Interview with Lars von TrierInterview with Jørgen LethManifestos Filmography and BibliographyIndex

Recenzii

Koutsourakis's examination of the often-examined Lars von Trier is refreshing for a couple of reasons. First, Koutsourakis (research fellow, Centre for Modernism Studies, Univ. of New South Wales, Australia) foregoes biographical attention to von Trier the man in the interest of restoring focus on the formal complexities of the films themselves. Second, Koutsourakis interprets the films through a postmodern rethinking of Bertolt Brecht, and he dedicates the first chapter, 50 pages or so, to Brecht and defining "post-Brechtian"--which should interest scholars of theater, performance studies, and contemporary cinema. The book is strongly argued and will prove useful to those interested in von Trier. Summing Up: Recommended. Upper-division undergraduates through faculty.
[Koutsourakis] contributes generatively to the way in which Brecht might be applied within film studies as he evaluates Brecht's own writing on cinema and illuminates concepts beyond the Verfremdungseffekt (the process of making the familiar strange). Koutsourakis' book is thus a welcome development that expands scholarship on von Trier beyond the framework of 'Extreme Cinema' within which his work is frequently placed ... A highly valuable contribution to work on von Trier.
From Brechtian to Post-Brechtian: Koutsourakis moves beyond the mere allegorical readings of the films' content and challenges the simplistic dichotomies that traditionally [restricted] von Trier's Brechtianism [...] Unlike other books on von Trier . . . this richly illustrated study pushes the analysis to reveal von Trier's multiple connections with the avante-garde and Italian Neo-Realism, also including interviews with the director and his mentor Jorgen Leth.
Koutsourakis's study succeeds in two ways. It identifies the political dimension of Brecht's artistic practice not in his Marxist ideology or modernist devices but in his aesthetics of negation. Second, it positions von Trier in this tradition as a post-Brechtian filmmaker whose experimental and irritating productions - like Brecht's - politicize the audience's perception of history and the present through their formal properties of radical negation. Unlike many books on von Trier, this richly illustrated study, including interviews and relevant documents, pushes far beyond the biographical into the media and representational aesthetics that distinguish this body of challenging films.
In his book, Angelos Kousourakis takes a new and innovative look at the cinema of Lars von Trier. Using Bertolt Brecht's theories as a key, he analyses the political and ideological aspects of Lars von Trier's oeuvre with sharp intellectual energy. In Koutsourakis's reading, Trier's radicalism is made visible: Lars von Trier as a revolutionary!
Angelos Koutsourakis's stimulating and thought-provoking monograph on Lars von Trier presents the Danish director as a political filmmaker in the Brechtian tradition. In addition to offering a sophisticated and stimulating analysis of the political aspects of Lars von Trier's films, the monograph also has a number of other qualities that make it an essential read for anyone interested in Lars von Trier. It revalorises von Trier's early films and discusses a number of his lesser-known projects (such as the unfinished, and now aborted, Dimension project); it introduces material to which only Danish readers have previously had access, and it includes Koutsourakis's own interviews with Lars von Trier and Jørgen Leth. Finally, like Bainbridge, Koutsourakis presents a number of von Trier's manifestos from 1984 to 2001, giving the reader a lot of material to engage with -dialectically or not.