Sacred-profane cruelty and eroticism in Lars von Trier’s depression trilogy
In this study, the Depression Trilogy by Danish filmmaker Lars von Trier was analyzed. This trilogy is composed of the movies Anticristo (Antichrist, 2009), Melancolia (Melancholia, 2011) and Ninfomaníaca (Nymphomaniac, 2013). More specifically, three aspects are analyzed in this corpus: the prologu...
| Autores: | , |
|---|---|
| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2020 |
| País: | Brasil |
| Institución: | Universidade Federal do Rio Grande do Sul (UFRGS) |
| Repositorio: | Intexto (Porto Alegre) |
| Idioma: | portugués |
| OAI Identifier: | oai:seer.ufrgs.br:article/92532 |
| Acceso en línea: | https://seer.ufrgs.br/index.php/intexto/article/view/92532 |
| Access Level: | acceso abierto |
| Palabra clave: | Lars von Trier. Sacroprofano. Crueldade. Erotismo. Cinema. Lars von Trier. Sacred-profane. Cruelty. Eroticism. Cinema. |
| Sumario: | In this study, the Depression Trilogy by Danish filmmaker Lars von Trier was analyzed. This trilogy is composed of the movies Anticristo (Antichrist, 2009), Melancolia (Melancholia, 2011) and Ninfomaníaca (Nymphomaniac, 2013). More specifically, three aspects are analyzed in this corpus: the prologue role, the communion of the characters with nature, and the violence of the relationships. Hypothetically, some classical reflections concerning the sacred, the cruelty and the eroticism made by Mircea Eliade (2010), Antonin Artaud (2006) and Georges Bataille (2014) are lined up in order to be read under the elidian concept of Sacred-profane. This concept also suspends the difference that separates the black masses from the faith, thus, with the amalgams of paradox, sacred-profane is sustained in the fine line between interdictions and transgressions, between continuous and discontinuous, and in the epiphany of the image. |
|---|