Lars von Trier's Renewal of Film 1984-2014
Regular price
€42.99
Regular price
€50.99
Sale
Sale price
€42.99
A01=Bodil Marie Stavning Thomsen
Age Group_Uncategorized
Age Group_Uncategorized
Author_Bodil Marie Stavning Thomsen
automatic-update
Category1=Non-Fiction
Category=APF
Category=ATF
COP=Denmark
Delivery_Delivery within 10-20 working days
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=0
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Film and Dance
Film Directors & Film-Makers
Film Studies
Language_English
PA=Available
Price_€20 to €50
PS=Active
softlaunch
Theater
Product details
- ISBN 9788771842302
- Publication Date: 01 May 2018
- Publisher: Aarhus University Press
- Publication City/Country: DK
- Product Form: Paperback
- Language: English
Secure
checkout
Fast Shipping
Easy returns
Danish director Lars von Trier has produced more than 20 films since his first appearance with The Elements of Crime in 1984. One of the most acknowledged – and most controversial – film directors of our time, Trier’s films often escape the representational production of meaning.
In Lars von Trier’s Renewal of Film 1984-2014. Signal, Pixel, Diagram scholar Bodil Marie Stavning Thomsen offers a comprehensive discussion of Lars von Trier’s collected works. Examining Trier’s experiments with narrative forms, genre, camera usage, light, and colour tones, she shows how Trier’s unique ethically involving style activates the viewer’s entire perception apparatus. In understanding this affective involvement, the author frames the discussion around concepts from Gilles Deleuze, Alois Riegl, Brian Massumi and others on the haptic image, the diagram, affect and the signaletic material.
In Lars von Trier’s Renewal of Film 1984-2014. Signal, Pixel, Diagram scholar Bodil Marie Stavning Thomsen offers a comprehensive discussion of Lars von Trier’s collected works. Examining Trier’s experiments with narrative forms, genre, camera usage, light, and colour tones, she shows how Trier’s unique ethically involving style activates the viewer’s entire perception apparatus. In understanding this affective involvement, the author frames the discussion around concepts from Gilles Deleuze, Alois Riegl, Brian Massumi and others on the haptic image, the diagram, affect and the signaletic material.
Bodil Marie Stavning Thomsen is Associate Professor in Culture and Media, Department for Aesthetics and Communication, Scandinavian Studies, Aarhus University.
