Politics as Form in Lars von Trier: A Post-Brechtian Reading
Autor Dr Angelos Koutsourakisen Limba Engleză Hardback – 18 dec 2013
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Specificații
ISBN-13: 9781623563455
ISBN-10: 1623563453
Pagini: 264
Ilustrații: 25 bw illus
Dimensiuni: 152 x 229 x 18 mm
Greutate: 0.5 kg
Ediția:New.
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:New York, United States
ISBN-10: 1623563453
Pagini: 264
Ilustrații: 25 bw illus
Dimensiuni: 152 x 229 x 18 mm
Greutate: 0.5 kg
Ediția:New.
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:New York, United States
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Caracteristici
Contains
a
personal
interview
with
Lars
von
Trier,
covering
politics
and
aesthetics
Notă biografică
Angelos
Koutsourakisis
Associate
Professor
in
Film
and
Cultural
Studies
at
the
Centre
for
World
Cinemas
and
Digital
Cultures,
University
of
Leeds,
UK.
He
is
the
author
ofRethinking
Brechtian
Film
Theory
and
Cinema(2018)
and
the
co-editor
ofCinema
of
Crisis:
Film
and
Contemporary
Europe(2020)
and
ofThe
Cinema
of
Theo
Angelopoulos(2015).
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
asVerfremdungseffekt2.
Historical
Fragments
in
theEuropaTrilogy
Europe
is
PainfulBeyond
theFabelAudiovisual
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.DogvilleandManderlay:
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
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.
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.
[Full of] fresh individual insights ... Koutsourakis has produced a well-researched and innovative study, which will be of use to everyone interested in von Trier's cinema and its relation to Brecht.
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.
[Full of] fresh individual insights ... Koutsourakis has produced a well-researched and innovative study, which will be of use to everyone interested in von Trier's cinema and its relation to Brecht.
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!