Lars von Trier

Lars von Trier

Linda Badley
Copyright Date: 2010
Pages: 232
https://www.jstor.org/stable/10.5406/j.ctt7zw5gq
  • Cite this Item
  • Book Info
    Lars von Trier
    Book Description:

    Scandinavia's foremost living auteur and the catalyst of the Dogme95 movement, Lars von Trier is arguably world cinema's most confrontational and polarizing figure. Willfully devastating audiences, Trier has cultivated an insistently transnational cinema, taking inspiration from sources that range from the European avant-garde to American genre films. This volume provides a stimulating overview of Trier's career while focusing on his more recent work, including the controversial Gold Heart Trilogy ( Breaking the Waves, The Idiots, and Dancer in the Dark ), the as-yet unfinished USA Trilogy ( Dogville and Manderlay ), and individual projects such as the comedy The Boss of It All and the incendiary horror psychodrama Antichrist.

    eISBN: 978-0-252-09542-9
    Subjects: Film Studies

Table of Contents

  1. Front Matter
    (pp. i-vi)
  2. Table of Contents
    (pp. vii-viii)
  3. Acknowledgments
    (pp. ix-xiv)
  4. Making the Waves: Cinema as Performance
    (pp. 1-154)

    “Lars von Trier—genius or fraud?” asks a May 2009Guardian Arts Diarypoll. Its subject is arguably world cinema’s most confrontational and polarizing figure, the results: 60.3 percent genius, 39.7 percent fraud. Trier takes risks no other filmmaker would conceive of, mounting projects that somehow transcend the grand follies they narrowly miss becoming, and willfully devastates audiences. Scandinavia’s foremost auteur since Ingmar Bergman, the Danish director has premiered all but one of his ten features at Cannes and reigns, asIndieWIREwould have it, “the unabashed prince of the European avant-garde” (qtd. in “Trier”). Challenging conventional limitations and imposing...

  5. Interviews with Lars von Trier
    (pp. 155-180)
    Lars von Trier and LINDA BADLEY

    On September 19, 2006, two days beforeThe Boss of It All’s Copenhagen International Film Festival premiere, I interviewed Trier at Zentropa headquarters in Filmbyen, arriving with an impression gleaned from wandering the premises the weekend before. A twenty-minute train ride from the center of Copenhagen, Filmbyen lives up to its reputation as Hollywood’s antithesis: Taking up the last row of low-rise, yellow-brick buildings separated by large, pothole-marked parking lots, the former military barracks look like a cross between a Soviet concentration camp and a hippie commune. Housing Zentropa’s full-featured production company along with subsidiaries and collaborators, it has been...

  6. Filmography
    (pp. 181-192)
  7. Bibliography
    (pp. 193-206)
  8. Index
    (pp. 207-214)
  9. Back Matter
    (pp. 215-219)