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Lars von Trier$
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Linda Badley

Print publication date: 2011

Print ISBN-13: 9780252035913

Published to Illinois Scholarship Online: April 2017

DOI: 10.5406/illinois/9780252035913.001.0001

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PRINTED FROM ILLINOIS SCHOLARSHIP ONLINE (www.illinois.universitypressscholarship.com). (c) Copyright Illinois University Press, 2017. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in ISO for personal use (for details see http://www.universitypressscholarship.com/page/privacy-policy).date: 23 November 2017

Making the Waves

Making the Waves

Cinema as Performance

Chapter:
(p.1) Making the Waves
Source:
(p.v) Lars von Trier
Author(s):

Linda Badley

Publisher:
University of Illinois Press
DOI:10.5406/illinois/9780252035913.003.0001

This chapter presents a commentary on Lars von Trier's film career. It argues that unlike auteurs shaped by existing conditions, trends, or movements within or outside the mainstream industry, Trier is self-authorized, his career “a prototype auteurist initiative,” a project “not primarily to make films but to construct Lars von Trier, the auteur filmmaker.” If his films are identified by auteurist trademarks as trilogies and movements, he systematically violates commandments like the lynchpin of continuity editing, the 180-degree rule. More characteristic yet, though, is his propensity for making 180-degree turns, whether between trilogies or within films. The remainder of the chapter focuses on Trier's work, including his student films, his television commercials from the late 1980s, and films such as The Idiots (1998), Breaking the Waves (1996), Dancer in the Dark (2000), and The Boss of It All (2006).

Keywords:   Lars von Trier, filmmakers, filmmaking, Danish film directors, auteurs, film career

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