European Extreme: Art or Exploitation?

The work of Lars Von Trier has been shrouded in controversy due to his frequent use of extreme violence, sex and disturbing subject matter. He even coined the filmmaking movement ‘Dogma’ to help further his and other filmmaker’s cinematic style. However, whilst many critics of Von Trier’s work claim them to be highly exploitive and solely created to shock its audience, there are some that deem it to be artistic. This final blog entry will discuss one of Von Trier’s most controversial works, Antichrist, to decide whether his 2009 film was artistic or made with the intention to provoke and anger.

(Von Trier, 2009)

Extreme cinema often merges two definitions of extremity. The first is that of visible extremity otherwise known as ‘bodily extremity’. This would typically include sequences of graphic births, “abortion, cannibalism, bodily waste, rape, incest, and the ingestion of urine and animals usually consumed as food in the West.” (Frey, 2016, p.125) Von Trier’s work was frequently partial to sequences that would cause his audience to experience discomfort and repulsed by the action of his characters (Elbeshlawy, 2016, p.96). The other example of extremity applies to the structure of the film itself. “While conforming to standards of subgenres and factions within the genre…also appears to cross-over between these sub-divisions” (Mathijs & Sexton, 2012) and they also manipulate typical narrative structures combined with unnatural aesthetic choices. Von Trier utilises these extreme filmmaking techniques within Antichrist especially with the depiction of the lead female protagonist played by Charlotte Gainsbourg. As the film progresses, she develops “an insatiable hunger for existence” (Nietzsche, 1999, p.102) and through Von Trier’s trademark Dogma filmmaking techniques, he depicts graphic sequences of genital mutilation and a disturbing opening of an unsimulated sexual encounter in which a child falls to their death just as the woman reaches orgasm (Krisjansen & Papadopoullos, 2015, p.58). The clip below is an example of Von Trier using extreme graphic violence to disturb the audience. Caution: This clip contains disturbing material.

(Von Trier, 2009)

Antichrist is not believed to exploitative by all and there are a select few who consider Von Trier’s work as an artistic form of cinematic expression. Art is extremely subjective and because cinema is a form of art, many find Von Trier’s work to be incredibly influential and view him to be a prolific artist (Badley, 2011, p.9). Von Trier has been commended on his unique use of cinematography particularly in his 2000 musical, Dancer in the Dark, where the dance sequences become wild and vivid to actualise the main character’s fantasy (Simons, 2007, p.132). Many critics have looked into the prominent themes of Antichrist and see the film as more than an example of extreme European cinema. Linda Badley believes the film to be an analysis of misogyny between both genders and a violent clash between masculinity and femininity (Badley, 2011, p.149). The clip below is an example of Von Trier expressing his artistic flair in one of the many dream sequences featured.

(Von Trier, 2009)

As mentioned earlier, art is the most subjective form of entertainment and as filmmakers keep striving for ideas, the definition of what can and cannot be considered art is tested. Lars Von Trier is a director that pioneered the Dogma movement and pushed the censors as to what was acceptable. Personally, I can see the merit of Von Trier’s work and similar director’s works but not everything can always been called art and the extremity of his films, and those that fall under this category, call into question morality and the limits of subjectivity.

Bibliography:

Badley, L., (2011), Lars Von Trier, Illinois: University of Illinois Press

Elbeshlawy, A., (2016), Women in Lars Von Trier’s Cinema, 1996-2014, New York: Springer

Frey, M., (2016), Extreme Cinema: The Transgressive Rhetoric of Today’s Art Film Culture, New Jersey: Rutgers University Press

Krisjansen, I. & Papadopoullos, C., (2015), Nietzsche’s Ausgang: Dissolution and Identity in the Cinema of Lars Von Trier, Studies In European Cinema, 12(1), p.46-59

Mathijs, E. & Sexton, J., (2012), Cult Cinema: An Introduction, New Jersey: John Wiley & Sons

Nietzsche, F. W., (1999), The Birth of Tragedy: And Other Writings, Cambridge: University Press

Simons, J., (2007), Playing The Waves: Lars Von Trier’s Game Cinema, Amsterdam: Amsterdam University Press

Von Trier, L., (Director), (2009), Antichrist [Motion Picture], Denmark: Canal+

As part of this final blog post, the assessment criteria asks that I evaluate another student blog that I find to be the strongest. I believe UP856915 to have the strongest blog. Not only does it possess a strong critical approach towards the chosen focal points, but there is a clear visual presentation to each post. The blog also has a distinct breadth and depth of researching proving that they have read around these topics to gain a greater understanding. This blog also has shown a great improvement suggesting they have worked on the feedback given to them.