Lars von Trier's Renewal of Film 1984-2014 : Signal, Pixel, Diagram

Front Page
Title Page
Colophon
Contents
Preface
Introduction
The theoretical landscape
	The »signaletic material« of film
	Haptic surfaces and affective effects
Haptic surfaces and spatial effects in Trier’s films of the 1980s
A tiger in The Kingdom The transformation from Gothic to grotesque
	A ghost story
	From Gothic eeriness to grotesque laughter on the surface of the TV screen
	The real-time effect of electronic signals - introduction to The Kingdom I
	Breaching – the conclusion of The Kingdom I
	The perforation from upper to underside in the narrative’s Möbius strip
	Grotesque real-time interfaces: surveillance, scans and X-ray
	The technological and mythological credo of the video medium
	The haptic level in The Kingdom I and II
	»The body without organs« and the »becoming-animal
Dogme 95 and The Idiots A new form of realism
	The »Dogme 95 Manifesto« and the »Vow of Chastity«
	A diagrammatic production of factual reality in the form of haptic »Figures«
	The Dogme diagram – a generator of haptic compositions and modes of perception
	Deformation of the face and the fall of the body
Golden Hearts 1 and 3 Affective outflow into the landscape and the music
	The power of the rejected
	Breaking the Waves and »faciality«
	Any-space-whatever and colours in Breaking the Waves and Dancer in the Dark
	Dancer in the Dark and »the refrain«
America films Verfremdung and diagrammatic production
	Planes of composition in Dogville
	Capitalistic segmentarity and terroristic micropolitics in Dogville
	Microperceptual affect in Dogville
	Compositional planes in Manderlay
	Struggle in the binary segmentation
	Dividual qualitative transformation and an ethics of affect
The boss and the performative-biographical The aesthetics of the fall
	Heterotopy, diagram and divid
	The one who falls: on Lars' turning Jørgen into a performative I
Affective figures of depression, melancholia and mania
	Antichrist – in nature, chaos reigns
	Nietzsche – The Dionysian and the Apollinian
	Tarkovsky and the »eternal recurrence of the same«
	Time as the »powers of the false«, creation and transformation
	Melancholia – the world’s Dionysian underground
	Iconoclasm
	The rescue of melancholia from ›the world as will and idea‹
	Tristan und Isolde – Wagner as intermediary
	The end of the world – figures for interpretation
	Affect and event
	Schopenhauer’s melancholia, Nietzsche’s Zarathustra, and Arendt’s thinker
	Affective diagrams: a haptic, signaletic material in Antichrist and Melancholia
	Nymphomaniac – mania’s (self)destructive force
	Two kinds of diagram: material signs and signaletic material
	The subversive potential of sexual desire in chapters 1-4
	The asexual, super sensual woman in chapter 5
	The sadistic woman’s unfolding in chapters 6-8
Concluding remarks on Lars von Trier’s filmic affect diagrams
Bibliography
Cover Back Side