What a Wonderful Fascism: Claiming the Real in Lars Von Trier and Dogma 95
Keywords:the Real, documentary film narrative, esthetical system of representation
AbstractIn many respects, the DOGMA 95 film movement was intended and presented as their founders’ (Lars Von Trier and Thomas Vinterberg) plea to turn from the traditional or fictional film narrative towards the framings of documentary film narrative within traditional cinema: towards the real. What was perceived as unreal was genre film, technologically advanced film editing, Hollywood’s ideological, economical and esthetical system of representation. In more utopian terms, DOGMA 95 initially wanted to escape the boundaries of commercial film history and the logic of art as rhetorical sign.
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