Abstract
Lars von Trier is a renowned director for his own provocative language of filmmaking and rebellious stance against dominant Hollywood cinema by means of his controversial films. A thought-provoking language that subverts extant assumptions and norms is prominent in Trier’s ouvre because his films rejects ideological conventions through cinematic provocations in order to reveal the ‘truth’ in the clichés related to anti-Semitism, race relations, politics of gender and misconceptions. Thus, on the one hand Lars von Trier has left his mark in the film history with respect to films he shot and radical topics he tackled, and on the other he has become the focus fierce debates. Starting with his first film The Element of Crime (1984), films such as Europa (1991), Breaking the Waves (1996), Idioterne (1998), The Dancer in the Dark (2000) have laid the foundation of his filmography. His following films Dogville (2003) ve Manderlay (2005) drawed attention especially in terms of their style of mise en scene borrowed from epic theatre. Trier has gone on to direct contentious films such as Antichrist (2009), Melancholia (2011) and Nymphomaniac I-II (2013), on which there has been much debate in terms of in aesthetics, ethics and politics and still are. As a matter of fact, Charles Martig, who claims that the director’s provocative inclinations has become superposable to his filmography, designates the cinema of Lars von Trier as a ‘cinema of irritation’.
In Trier's most recent film, The House that Jack Built (2018), the murders committed by a clever, OCD serial killer with obsessions of neatness and perfection form the main theme of the film. The main character of the film, Jack, kills his victims with the perfection of a great artist that creates a painting or musical masterpiece. The notion inter-imagery is distinguished through the references to various works of art such as Divine Comedy by Dante (Verge character accompanying Jack), Wings of Desire by Wim Wenders (Bruno Ganz who portrayed Damiel, the angel in the Wenders’ film) as well as some scenes from his own films such as Antichrist, Melancholia and Nymphomaniac. This paper makes a discussion on the manifestations of inter-agency in Lars von Trier’s cinema of irritation by focusing specifically on The House That Jack Built as a case study.
References
- Bainbridge, C. (2007). The Cinema of Lars von Trier: Authenticity and Artifice. Wallflower Press: London.
- Bedley, L. (2010). Lars von Trier. University of Illinois Press: Urbana Chicago.
- Ogden, B. (2009). “How Lars von Trier Sees the World: Postmodernism and Globalization in The Five Obstructions”. Quarterly Review of Film and Video, 27(1), 54-68.
- Björkman, S. (2003). Trier on von Trier, trans. by Neil Smith, London: Faber and Faber.
- Bunch, M. (2012). “Behind Idealism: The Discrepancy between Philosophy and Reality in The Cinema of Lars von Trier”. içinde Evaluating the Achievement of One Hundred Years of Scandinavian Cinema: Dreyer, Bergman, Von Trier, and Others. Edwin Mellen Press: New York.
- De Quincey, T. (1998[1827]). Güzel Sanatların Bir Dalı Olarak Cinayet. Çev.: İsmet Berkan. Ankara: Ayraç Yayınevi.
- Elçi Özcan, D. (2016). “İçe Alınma ve Dışa Atılma Mekanizmalarıyla Dogville’de Kadın İmgesinin Temsili.” Akademik Bakış Dergisi. 58(Kasım-Aralık), 224-242.
- Elsaesser, T. (1987). “Tales of Sound and Fury: Observations on the Family Melodrama”, içinde Christina Gledhill (Ed.) Home is Where the Heart Is: Studies in Melodrama and the Womans Film. London: British Film Institute, 43-69.
- Frampton, D. (1993) “Lars von Trier x 6”. Çevrimiçi: http://www.filmosophy.org/articles /vontrier. Erişim Tarihi: 02.10.2019.
- Gruzinski, S. (1997) “Europa: Journey to the End of History”, in C. David and J. F. Chevrier (Eds.) Documenta X — The Book: Politics, Poetics. Ostfildern: Cantz-Verl, 508-13.
- Hjort, M. (2002). “Lars von Trier”. içinde Yvonne Tasker (Ed.) Fifty Contemporary Filmmakers. Routledge: London and New York.
- Hjort, M. (2010). “Lars von Trier”. içinde Yvonne Tasker (Ed.) Fifty Contemporary Filmmakers (İkinci Baskı). Routledge: London and New York.
- Kibar, S. (2015). “Women Bodies at Trial by Ordeal since Christianity to Trier Movies” Journalism and Mass Communication, December 2015, Vol. 5, No. 12, 650-657.
- Kiryukhina, T. (2017). “Resimlerle Cehennemdeki Dokuz Çember: Dante’nin İlahi Komedyası„. Çev.: Gözlem Küçük. Çevrimiçi: https://dusunbil.com/resimlerle-cehennemdeki-9-cember-dantenin-ilahi-komedyasi/ Erişim Tarihi:16.11.2019.
- Loren, S. ve Metelmann, J. “Auteurism and the Aesthetics of Irritation: Haneke, von Trier and Lynch”. içinde Fascinatingly Disturbing: Interdisciplinary Perspectives on Michael Haneke's Cinema. (Ed.) Alexander D. Ornella. Wipf & Stock Publications: Eugene, Oregon.
- Mandolfo, C. (2010). “Women, Suffering and Redemption in Three Films Of Lars Von Trier”. Literature & Theology, Vol. 24. No. 3, September 2010, pp. 285-300 doi: 10. i093/litthe/frq035.
- Metin, S. (2014). “Lars von Trier’in Dogville ve Manderlay Filmleri ile Hukuku Düşünmek.” Hukuk Kuramı, Cilt 1(3): 1-24. Çevrimiçi: https://www.hukukkurami.net/ editor/Sayi_3/03_01_metin.pdf
- Schepelern, P. (2000). Lars von Triers Film Tvang Og Befrielse. Rosinante: København.
- Simons, J. (2007). Playing the Wave: Lars von Trier’s Game Cinema. Amsterdam University Press: Amsterdam.
- Stevenson, J. (2005). Lars Von Trier. Çev.: Begüm Kovulmaz. Agora: İstanbul.
- Tiefenbach, G. (2010). Drama und Regie. Königshausen ve Neumann: Würzburg.
- Trier, L. (2009). “Yönetmenin İtirafı”. Antichrist. Filmin Resmi İnternet Sitesi.
- Tutaş, N. (2014). “William Blake’de Masumiyet ve Tecrübe: Kuzu ve Kaplan”. Folklor Edebiyat. 20 (78):83-90.
- Turysheva, O. (2015). “With the Truth or with Christ Lars von Trier’s Dialogue with Fyodor Dostoyevsky”. Quaestio Rossica, Cilt 1, s. 203–212. Çevrimiçi: https://qr.urfu.ru/ojs/index.php/qr/article/view/087/3014
- Zavarzadeh, M. (1985). “The Semiotics of the Foreseen: Modes of Narrative Intelligibility in (Contemporary) Fiction.”. Poetics Today 6(4): 607-626.
Abstract
Lars von Trier; tartışma yaratan filmleriyle egemen Hollywood sinemasına başkaldıran, ve kendine has yarattığı provokatif sinema dili ile kendinden söz ettiren bir yönetmendir. Trier’in filmlerinde anti-semitizm, ırk ilişkileri, toplumsal cinsiyet politikaları ve yanlış düşünmeyle ilgili klişelerde yer alan ‘hakikat’in ortaya çıkarılması adına sinematik provokasyonlar aracılığıyla ideolojik klişelere itiraz eden, düşünen ve düşündüren; dolayısıyla var olan kabulleri tersyüz eden bir dil öne çıkar. Bu nedenle Lars von Trier çektiği filmler ve ele aldığı radikal konularla bir yandan ismini sinema tarihine yazdırırken, diğer yandan önemli tartışmaların da odak noktasını oluşturur. İlk filmi The Element of Crime (1984) ile başlayan ve Europa (1991), Breaking The Waves (1996), Idioterne (1998), The Dancer in the Dark (2000) ile devam eden sinema kariyerinde özellikle teatral bir sahneleme tarzıyla öne çıkan Dogville (2003) ve Manderlay (2005)’in ardından, Antichrist (2009), Melancholia (2011) Nymphomaniac I-II (2013) gibi filmleri çekmiş ve bu filmler üzerine estetik, etik, siyasi bağlamlarda tartışmalar yürütülmüş ve yürütülmeye de devam etmektedir. Nitekim, yönetmenin provokatif eğilimlerinin artık sinemasıyla özdeş hale geldiğini öne süren Charles Martig, Trier’in sinemasını ‘rahatsızlık/tahrik sineması’ (cinema of irritation) olarak adlandırmaktadır.
Trier’in son filmi The House That Jack Built (2018)’de ise zeki ve obsesif bir seri katilin temizlik ve kusursuzluk takıntılarıyla işlediği cinayetler filmin ana temasını oluşturur. Filminin ana karakteri Jack; kurbanlarını bir resim ya da müzik şaheseri kusursuzluğu ile öldürmektedir. Filmde Jack karakterine eşlik eden Verge karakteri ile Dante’nin İlahi Komedya’sına, Verge karakterini canlandıran melek Damiel (Bruna Ganz) ile Wim Wenders’in Der Himmel Über Berlin’ine, Antichrist, Melancholia ve Nymphomaniac gibi kendi filmlerinden bazı sahnelere yaptığı atıflar önem taşır. Bu çalışma kapsamında The House That Jack Built filmi temel çıkış noktası olmak üzere Lars von Trier sinemasında imgelerarasılığın tezahürleri üzerine bir tartışma yürütülecektir.
References
- Bainbridge, C. (2007). The Cinema of Lars von Trier: Authenticity and Artifice. Wallflower Press: London.
- Bedley, L. (2010). Lars von Trier. University of Illinois Press: Urbana Chicago.
- Ogden, B. (2009). “How Lars von Trier Sees the World: Postmodernism and Globalization in The Five Obstructions”. Quarterly Review of Film and Video, 27(1), 54-68.
- Björkman, S. (2003). Trier on von Trier, trans. by Neil Smith, London: Faber and Faber.
- Bunch, M. (2012). “Behind Idealism: The Discrepancy between Philosophy and Reality in The Cinema of Lars von Trier”. içinde Evaluating the Achievement of One Hundred Years of Scandinavian Cinema: Dreyer, Bergman, Von Trier, and Others. Edwin Mellen Press: New York.
- De Quincey, T. (1998[1827]). Güzel Sanatların Bir Dalı Olarak Cinayet. Çev.: İsmet Berkan. Ankara: Ayraç Yayınevi.
- Elçi Özcan, D. (2016). “İçe Alınma ve Dışa Atılma Mekanizmalarıyla Dogville’de Kadın İmgesinin Temsili.” Akademik Bakış Dergisi. 58(Kasım-Aralık), 224-242.
- Elsaesser, T. (1987). “Tales of Sound and Fury: Observations on the Family Melodrama”, içinde Christina Gledhill (Ed.) Home is Where the Heart Is: Studies in Melodrama and the Womans Film. London: British Film Institute, 43-69.
- Frampton, D. (1993) “Lars von Trier x 6”. Çevrimiçi: http://www.filmosophy.org/articles /vontrier. Erişim Tarihi: 02.10.2019.
- Gruzinski, S. (1997) “Europa: Journey to the End of History”, in C. David and J. F. Chevrier (Eds.) Documenta X — The Book: Politics, Poetics. Ostfildern: Cantz-Verl, 508-13.
- Hjort, M. (2002). “Lars von Trier”. içinde Yvonne Tasker (Ed.) Fifty Contemporary Filmmakers. Routledge: London and New York.
- Hjort, M. (2010). “Lars von Trier”. içinde Yvonne Tasker (Ed.) Fifty Contemporary Filmmakers (İkinci Baskı). Routledge: London and New York.
- Kibar, S. (2015). “Women Bodies at Trial by Ordeal since Christianity to Trier Movies” Journalism and Mass Communication, December 2015, Vol. 5, No. 12, 650-657.
- Kiryukhina, T. (2017). “Resimlerle Cehennemdeki Dokuz Çember: Dante’nin İlahi Komedyası„. Çev.: Gözlem Küçük. Çevrimiçi: https://dusunbil.com/resimlerle-cehennemdeki-9-cember-dantenin-ilahi-komedyasi/ Erişim Tarihi:16.11.2019.
- Loren, S. ve Metelmann, J. “Auteurism and the Aesthetics of Irritation: Haneke, von Trier and Lynch”. içinde Fascinatingly Disturbing: Interdisciplinary Perspectives on Michael Haneke's Cinema. (Ed.) Alexander D. Ornella. Wipf & Stock Publications: Eugene, Oregon.
- Mandolfo, C. (2010). “Women, Suffering and Redemption in Three Films Of Lars Von Trier”. Literature & Theology, Vol. 24. No. 3, September 2010, pp. 285-300 doi: 10. i093/litthe/frq035.
- Metin, S. (2014). “Lars von Trier’in Dogville ve Manderlay Filmleri ile Hukuku Düşünmek.” Hukuk Kuramı, Cilt 1(3): 1-24. Çevrimiçi: https://www.hukukkurami.net/ editor/Sayi_3/03_01_metin.pdf
- Schepelern, P. (2000). Lars von Triers Film Tvang Og Befrielse. Rosinante: København.
- Simons, J. (2007). Playing the Wave: Lars von Trier’s Game Cinema. Amsterdam University Press: Amsterdam.
- Stevenson, J. (2005). Lars Von Trier. Çev.: Begüm Kovulmaz. Agora: İstanbul.
- Tiefenbach, G. (2010). Drama und Regie. Königshausen ve Neumann: Würzburg.
- Trier, L. (2009). “Yönetmenin İtirafı”. Antichrist. Filmin Resmi İnternet Sitesi.
- Tutaş, N. (2014). “William Blake’de Masumiyet ve Tecrübe: Kuzu ve Kaplan”. Folklor Edebiyat. 20 (78):83-90.
- Turysheva, O. (2015). “With the Truth or with Christ Lars von Trier’s Dialogue with Fyodor Dostoyevsky”. Quaestio Rossica, Cilt 1, s. 203–212. Çevrimiçi: https://qr.urfu.ru/ojs/index.php/qr/article/view/087/3014
- Zavarzadeh, M. (1985). “The Semiotics of the Foreseen: Modes of Narrative Intelligibility in (Contemporary) Fiction.”. Poetics Today 6(4): 607-626.
Details
| Primary Language | Turkish |
|---|---|
| Subjects | Communication and Media Studies |
| Journal Section | Articles |
| Authors | |
| Publication Date | May 29, 2016 |
| Published in Issue | Year 2020 Özel Sayı (2) Mayıs 2020 |
