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| dogville screenplay: Feel-Bad Film Nikolaj Luebecker, 2015-05-19 An analysis of what contemporary directors seek to attain by putting their spectators in a position of strong discomfort |
| dogville screenplay: Dogville Vs Hollywood Jake Horsley, 2005 Including detailed analysis of work from early independent visionaries such as Francis Ford Coppola, Stanley Kubrick and Roman Polanski, through 80s indie cinema and 90s slacker films to present day pioneers such as Keith Gordon, Charlie Kaufman and Richard Linklater.--Jacket. |
| dogville screenplay: Lars von Trier's Cinema Rebecca Ver Straten-McSparran, 2021-11-11 This book offers a bold and dynamic examination of Lars von Trier’s cinema by interweaving philosophy and theology with close attention to aesthetics through style and narrative. It explores the prophetic voice of von Trier's films, juxtaposing them with Ezekiel's prophecy and Ricoeur’s symbols of evil, myth, and hermeneutics of revelation. The films of Lars von Trier are categorized as extreme cinema, inducing trauma and emotional rupture rarely paralleled, while challenging audiences to respond in new ways. This volume argues that the spiritual, biblical content of the films holds a key to understanding von Trier’s oeuvre of excess. Spiritual conflict is the mechanism that unpacks the films’ notorious excess with explosive, centrifugal force. By confronting the spectator with spiritual conflict through evil, von Trier's films truthfully and prophetically expose the spectator’s complicity in personal and structural evil, forcing self-examination through theological themes, analogous to the prophetic voice of the transgressive Hebrew prophet Ezekiel, his prophecy, and its form of delivery. Placed in context with the prophetic voices of Dante, Milton, Dostoyevsky, O’Connor, and Tarkovsky, this volume offers a theoretical framework beyond von Trier. It will be of great interest to scholars in film studies, film and philosophy, film and theology. |
| dogville screenplay: This Is a Picture and Not the World Joseph Natoli, 2012-02-01 In This Is a Picture and Not the World, Joseph Natoli employs the lingua franca of film itself—screenplay dialogue—as well as the more recent form of the political blog to present a hyperreal account of popular film as both a creator and a reflector of our post-9/11 mass psyche. Drawing on both classic and contemporary film examples, the book also offers a quasihistory of film genres, including science fiction, the western, film noir, and screwball comedy, emphasizing how these genres have been shaken up, recontextualized, recombined, turned self-reflexive, and parodied over the past couple of decades. Taken together, these satirical parodies of screenplays and blogs reveal and perform how our very gaze has shifted from modern to postmodern, from a direct view of the world to a filtered one. |
| dogville screenplay: Laughter in the Trenches Jakub Kazecki, 2012-04-25 Laughter in the Trenches: Humour and Front Experience in German First World War Narratives explores the appearances and functions of humour and laughter in selected novels and short stories, based on autobiographical experiences, written by authors during the war and in the Weimar Era (1919–1933). This study focuses on popular and lesser-known works of German literature that played an important role in the socio-political life of the Weimar Republic: Storm of Steel by Ernst Jünger (1920), Advance from Mons 1914 by Walter Bloem (1916), The Case of Sergeant Grischa by Arnold Zweig (1927), and All Quiet on the Western Front by Erich Maria Remarque (1929). The author shows that these works often share surprisingly similar narrative strategies in describing humorous experiences and soldier laughter to justify direct violence and oppressive power structures, regardless of the works’ ideological assignment and their popular and critical reception. This book also examines the parodic imitations of All Quiet on the Western Front, the German text All Quiet on the Trojan Front by Emil Marius Requark (1930) and the American film So Quiet on the Canine Front by Zion Myers and Jules White (1931) as significant polemical contributions that use humoristic strategies to stress or undermine elements of the original text. |
| dogville screenplay: New Extremism in Cinema Tanya C Horeck, 2013-01-11 Explosive images of sex and violence characterise what has come to be known as the 'new extremism' in contemporary European cinema. This collection of essays is devoted to the new extremism in contemporary European cinema and will critically interrogate t |
| dogville screenplay: The Psychology of Screenwriting Jason Lee, 2013-07-18 The Psychology of Screenwriting is more than an interesting book on the theory and practice of screenwriting. It is also a philosophical analysis of predetermination and freewill in the context of writing and human life in our mediated world of technology. Drawing on humanism, existentialism, Buddhism, postmodernism and transhumanism, and diverse thinkers from Meister Eckhart to Friedrich Nietzsche, Theodor Adorno, Jacques Derrida, Jean Baudrillard and Gilles Deleuze, The Psychology of Screenwriting will be of use to screenwriters, film students, philosophers and all those interested in contemporary theory. This book combines in-depth critical and cultural analysis with an elaboration on practice in an innovative fashion. It explores how people, such as those in the Dogme 95 movement, have tried to overcome traditional screenwriting, looking in detail at the psychology of writing and the practicalities of how to write well for the screen. This is the first book to include high-theory with screenwriting practice whilst incorporating the Enneagram for character development. Numerous filmmakers and writers, including David Lynch, Jim Jarmusch, David Cronenberg, Pedro Almodóvar, Darren Aronofsky, Sally Potter and Charlie Kaufman are explored. The Psychology of Screenwriting is invaluable for those who want to delve deeper into writing for the screen. |
| dogville screenplay: Words on Screen Michel Chion, 2017-03-07 Michel Chion is well known in contemporary film studies for his innovative investigations into aspects of cinema that scholars have traditionally overlooked. Following his work on sound in film in Audio-Vision and Film, a Sound Art, Words on Screen is Chion's survey of everything the seventh art gives us to read on screen. He analyzes titles, credits, and intertitles, but also less obvious forms of writing that appear on screen, from the tear-stained letter in a character's hand to reversed writing seen in mirrors. Through this examination, Chion delves into the multitude of roles that words on screen play: how they can generate narrative, be torn up or consumed but still remain in the viewer's consciousness, take on symbolic dimensions, and bear every possible relation to cinematic space. With his characteristic originality, Chion performs a poetic inventory of the possibilities of written text in the film image. Taking examples from hundreds of films spanning years and genres, from the silents to the present, he probes the ways that words on screen are used and their implications for film analysis and theory. In the process, he opens up and unearths the specific poetry of visual text in film. Exhaustively researched and illustrated with hundreds of examples, Words on Screen is a stunning demonstration of a creative scholar's ability to achieve a radically new understanding of cinema. |
| dogville screenplay: America in Literature and Film Dr Ahmed Elbeshlawy, 2013-05-28 Utilizing Lacan's psychoanalytic theory and Žižek's philosophical adaption of it, this book brings into dialogue a series of modernist and postmodernist literary works, films, and critical theory that are concerned with defining America. Ahmed Elbeshlawy demonstrates that how America is perceived in certain texts reveals not only the idealization or condemnation of it, but an imago, or constructed image of the perceiver as well. In turn, texts which particularly focus on demonstrating how other texts about America communicate an untrustworthy message themselves communicate an unreliable message, inventing and reinventing a series of imagos of America. These imagos refer to both idealized and deformed images of America constructed by the perceivers of America. The first part of this book is concerned with modernist perceptions of America, and includes discussion of Adorno, Benjamin, Kafka, D. H. Lawrence, as well as Emerson and Seymour Martin Lipset. The second part is dedicated to postmodernist representations of America, focusing on texts by Edward Said, Ihab Hassan, Susan Sontag, David Shambaugh and Charles W. Brooks, and films including Lars von Trier's Dogville and D.W. Griffith's Birth of a Nation. |
| dogville screenplay: Film Review , 2006 |
| dogville screenplay: Roger Ebert's Movie Yearbook 2006 Roger Ebert, 2005-11 Now fully updated, this annual yearbook includes every review Ebert had written from January 2007 to July 2009. It also includes interviews, essays, tributes, and all-new questions and answers from his Questions for the Movie Answer Man columns. |
| dogville screenplay: Roger Ebert's Movie Yearbook 2007 Roger Ebert, 2013-02-05 The most-trusted film critic in America. --USA Today Roger Ebert actually likes movies. It's a refreshing trait in a critic, and not as prevalent as you'd expect. --Mick LaSalle, San Francisco Chronicle America's favorite movie critic assesses the year's films from Brokeback Mountain to Wallace and Gromit: The Curse of the Were-Rabbit. Roger Ebert's Movie Yearbook 2007 is perfect for film aficionados the world over. Roger Ebert's Movie Yearbook 2007 includes every review by Ebert written in the 30 months from January 2004 through June 2006-about 650 in all. Also included in the Yearbook, which is about 65 percent new every year, are: * Interviews with newsmakers such as Philip Seymour Hoffman, Terrence Howard, Stephen Spielberg, Ang Lee, and Heath Ledger, Nicolas Cage, and more. * All the new questions and answers from his Questions for the Movie Answer Man columns. * Daily film festival coverage from Cannes, Toronto, Sundance, and Telluride. *Essays on film issues and tributes to actors and directors who died during the year. |
| dogville screenplay: Roger Ebert's Movie Yearbook 2005 Roger Ebert, 2004 Containing reviews written from January 2002 to mid-June 2004, including the films Seabiscuit, The Passion of the Christ, and Finding Nemo, the best (and the worst) films of this period undergo Ebert's trademark scrutiny. It also contains the year's interviews and essays, as well as highlights from Ebert's film festival coverage from Cannes. |
| dogville screenplay: Restitution and the Politics of Repair Zolkos Magdalena Zolkos, 2020-09-21 Analyses the social imaginary of undoing, repair and return underpinning the international norm of restitution-makingApproaches restitution not just as a legal norm of property return, but as a social imaginary and a cultural-psychoanalytic 'scene' of undoing, repair and returnBrings together philosophic-political, socio-legal and cultural-psychoanalytic approaches to the study of restitutionOutlines a heterogeneous and multifaceted idea of restitution emergent in modernity, and looks at the peripheries of the modern restitutive tradition in the search for alternatives and counter-traditionsThis book takes a unique approach grounded in political and cultural discourse to develop a political theory of restitution. Challenging assumptions about restitution in the Western legal and political tradition, where it has become nearly synonymous with reacquisition and where legal studies focus on material objects and claims to their ownership, Zolkos argues that the development of restitutive norms has been auxiliary to the emergence of modern state sovereignty, and excavates the restitutive tradition's mythical-religious substrate. Bringing together texts from within and outwith the Western canon of political theory and philosophy, including the writings of Grotius, Durkheim, Freud, and Klein, as well as Mary Shelley's Frankenstein, the book undertakes a dual task: reading literary texts as a political theorising of restitution, and reading political or sociological texts as literary narratives with distinctive 'restitutive tropes' of repair, undoing and return. |
| dogville screenplay: Sight and Sound , 2006 |
| dogville screenplay: The Complete Idiot's Guide to Digital Video Karl Bardosh, 2007-11-06 Join the digital revolution With the availability and affordability of digital movie-making equipment, it’s now easier than ever for aspiring filmmakers to create the great movie they’ve always wanted to make. From information on creating mini-films on a PDA to making low-budget, full-length digital movies, The Complete Idiot’s Guide® to Digital Video provides all the information you need to turn your idea into reality. • A must-read for every film student or novice • Covers all aspects of production, from casting and directing to light and sound to digital editing • Includes 8–page, 4–color insert • Up–to–date recommendations on equipment and software • Clear, easy-to-follow instructions and guidance, as well as all the practical, artistic, and technical “step–by–step” advice that only an experienced writer/director can offer |
| dogville screenplay: Altman on Altman David Thompson, 2011-04-07 In Altman on Altman, one of American cinema's most incorrigible mavericks reflects on a brilliant career. Robert Altman served a long apprenticeship in movie-making before his great breakthrough, the Korean War comedy M*A*S*H (1969). It became a huge hit and won the Palme d'Or at Cannes, but also established Altman's inimitable use of sound and image, and his gift for handling a repertory company of actors. The 1970s then became Altman's decade, with a string of masterpieces: McCabe and Mrs Miller, The Long Goodbye, Thieves Like Us, Nashville . . . In the 1980s Altman struggled to fund his work, but he was restored to prominence in 1992 with The Player, an acerbic take on Hollywood. Short Cuts, an inspired adaptation of Raymond Carver, and the Oscar-winning Gosford Park, underscored his comeback. Now he recalls the highs and lows of his career trajectory to David Thompson in this definitive interview book, part of Faber's widely acclaimed Directors on Directors series. 'Hearing in his own words in Altman on Altman just how much of his films occur spontaneously, as a result of last-minute decisions on set, is fascinating . . . For film lovers, this is just about indispensable.' Ben Sloan, Metro London |
| dogville screenplay: 10th Kolkata Film Festival , 2004 |
| dogville screenplay: Notes from the Dream House Philip French, 2018-10-25 Notes from the Dream House is a 'best of' selection of reviews by the celebrated Observer film critic Philip French. Spanning half the history of cinema, his reviews cover a great variety of films, from westerns and gangsters to art movies and musicals – the hits and the misses, the good, the bad and the ugly. French takes on films as disparate as The Gospel According to St Matthew and Ted, The Remains of the Day and Caligula. His reviews are personal, witty, and sharply perceptive. Time and again he reveals not only an encyclopaedic knowledge of cinema but also an erudition, an enthusiasm, and a boundless curiosity. Taken together, they form an illuminating commen¬tary on modern culture; but above all they are a distillation of one man's lifelong love of cinema, a worthy memorial to one of the most respected and beloved of modern critics. |
| dogville screenplay: Nicole Kidman David Thomson, 2008-12-10 From the brilliant film historian and critic David Thomson, a book that reinvents the star biography in a singularly illuminating portrait of Nicole Kidman—and what it means to be a top actress today. At once life story, love letter, and critical analysis, this is not merely a book about who Kidman is but about what she is—in our culture and in our minds, on- and offscreen. Tall, Australian, one of the striking beauties of the world, Nicole Kidman is that rare modern phenomenon—an authentic movie star who is as happy and as creative throwing a seductive gaze from some magazine cover as she is being Virginia Woolf in The Hours. Here is the story of how this actress began her career, has grown through her roles, taken risks, made good choices and bad, and worried about money, aging, and image. Here are the details of an actress’s life: her performances in To Die For, The Portrait of a Lady, Eyes Wide Shut, Moulin Rouge!, The Hours, and Birth, among other films; her high-visibility marriage to Tom Cruise; her intense working relationship with Stanley Kubrick and her collaborations with Anthony Minghella and Baz Luhrmann; her work with Jude Law, Anthony Hopkins, Renée Zellweger, and John Malkovich; her decisions concerning nudity, endorsements, and publicity. And here are Thomson’s scintillating considerations of what celebrity means in the life of an actress like Kidman; of how the screen becomes both barrier and open sesame for her and for her audience; of what is required today of an actress of Kidman’s stature if she is to remain vital to the industry and to the audiences who made her a prime celebrity. Impassioned, opinionated, dazzlingly original in its approach and ideas, Nicole Kidman is as alluring and as much fun as Nicole Kidman herself, and David Thomson’s most remarkable book yet. |
| dogville screenplay: The History of German Literature on Film Christiane Schönfeld, 2023-06-15 A 2024 CHOICE OUTSTANDING ACADEMIC TITLE This book tells the story of German-language literature on film, beginning with pioneering motion picture adaptations of Faust in 1897 and early debates focused on high art as mass culture. It explores, analyzes and contextualizes the so-called 'golden age' of silent cinema in the 1920s, the impact of sound on adaptation practices, the abuse of literary heritage by Nazi filmmakers, and traces the role of German-language literature in exile and postwar films, across ideological boundaries in divided Germany, in New German Cinema, and in remakes and movies for cinema as well as television and streaming services in the 21st century. Having provided the narrative core to thousands of films since the late 19th century, many of German cinema's most influential masterpieces were inspired by canonical texts, popular plays, and even children's literature. Not being restricted to German adaptations, however, this book also traces the role of literature originally written in German in international film productions, which sheds light on the interrelation between cinema and key historical events. It outlines how processes of adaptation are shaped by global catastrophes and the emergence of nations, by materialist conditions, liberal economies and capitalist imperatives, political agendas, the mobility of individuals, and sometimes by the desire to create reflective surfaces and, perhaps, even art. Commercial cinema's adaptation practices have foregrounded economic interest, but numerous filmmakers throughout cinema history have turned to German-language literature not simply to entertain, but as a creative contribution to the public sphere, marking adaptation practice, at least potentially, as a form of active citizenship. |
| dogville screenplay: Politics, Theory, and Film Bonnie Honig, Lori Jo Marso, 2016 The disturbing and intense films of Lars von Trier are often dismissed as misogynist, misanthropic, or anti-humanist. This book, however, invites us to engage with his work to found a new feminist vision and discover what might be distinctively hopeful for the future of our fragile human condition. |
| dogville screenplay: Focus On: 100 Most Popular Nonlinear Narrative Films Wikipedia contributors, |
| dogville screenplay: Lars von Trier Linda Badley, 2011-02-24 Scandinavia's foremost living auteur and the catalyst of the Dogme95 movement, Lars von Trier is arguably world cinema's most confrontational and polarizing figure. Willfully devastating audiences, he takes risks few filmmakers would conceive, mounting projects that somehow transcend the grand follies they narrowly miss becoming. Challenging conventional limitations and imposing his own rules, he restlessly reinvents the film language. The Danish director has therefore cultivated an insistently transnational cinema, taking inspiration from sources that range from the European avant-garde to American genre films. This volume provides a stimulating overview of Trier's career while focusing on the more recent work, including his controversial Gold Heart Trilogy (Breaking the Waves, The Idiots, and Dancer in the Dark), the as-yet unfinished USA Trilogy (Dogville and Manderlay), and individual projects such as the comedy The Boss of It All and the incendiary horror psychodrama Antichrist. Closely analyzing the films and their contexts, Linda Badley draws on a range of cultural references and critical approaches, including genre, gender, and cultural studies, performance theory, and trauma culture. Two revealing interviews that Trier granted during crucial stages of Antichrist's development are also included. |
| dogville screenplay: Post-Cinematic Theatre and Performance P. Woycicki, 2014-10-29 A cinema without cameras, without actors, without screen frames and without narratives almost seems like an antithetical impossibility of what is usually expected from a cinematic spectacle. This book defines an emergent field of post-cinematic theatre and performance, challenging our assumptions and expectations about theatre and film. |
| dogville screenplay: Buster Keaton James Curtis, 2022-02-15 **One of Literary Hub’s Five “Most Critically Acclaimed” Biographies of 2022** From acclaimed cultural and film historian James Curtis—a major biography, the first in more than two decades, of the legendary comedian and filmmaker who elevated physical comedy to the highest of arts and whose ingenious films remain as startling, innovative, modern—and irresistible—today as they were when they beguiled audiences almost a century ago. It is brilliant—I was totally absorbed, couldn't stop reading it and was very sorry when it ended.—Kevin Brownlow It was James Agee who christened Buster Keaton “The Great Stone Face.” Keaton’s face, Agee wrote, ranked almost with Lincoln’s as an early American archetype; it was haunting, handsome, almost beautiful, yet it was also irreducibly funny. Keaton was the only major comedian who kept sentiment almost entirely out of his work and . . . he brought pure physical comedy to its greatest heights.” Mel Brooks: “A lot of my daring came from Keaton.” Martin Scorsese, influenced by Keaton’s pictures in the making of Raging Bull: “The only person who had the right attitude about boxing in the movies for me,” Scorsese said, “was Buster Keaton.” Keaton’s deadpan stare in a porkpie hat was as recognizable as Charlie Chaplin’s tramp and Harold Lloyd’s straw boater and spectacles, and, with W. C. Fields, the four were each considered a comedy king--but Keaton was, and still is, considered to be the greatest of them all. His iconic look and acrobatic brilliance obscured the fact that behind the camera Keaton was one of our most gifted filmmakers. Through nineteen short comedies and twelve magnificent features, he distinguished himself with such seminal works as Sherlock Jr., The Navigator, Steamboat Bill, Jr., The Cameraman, and his masterpiece, The General. Now James Curtis, admired biographer of Preston Sturges (“definitive”—Variety), W. C. Fields (“by far the fullest, fairest and most touching account we have yet had. Or are likely to have”—Richard Schickel, front page of The New York Times Book Review), and Spencer Tracy (“monumental; definitive”—Kirkus Reviews), gives us the richest, most comprehensive life to date of the legendary actor, stunt artist, screenwriter, director—master. |
| dogville screenplay: A Companion to Australian Cinema Felicity Collins, Jane Landman, Susan Bye, 2019-04-15 The first comprehensive volume of original essays on Australian screen culture in the twenty-first century. A Companion to Australian Cinema is an anthology of original essays by new and established authors on the contemporary state and future directions of a well-established national cinema. A timely intervention that challenges and expands the idea of cinema, this book brings into sharp focus those facets of Australian cinema that have endured, evolved and emerged in the twenty-first century. The essays address six thematically-organized propositions – that Australian cinema is an Indigenous screen culture, an international cinema, a minor transnational imaginary, an enduring auteur-genre-landscape tradition, a televisual industry and a multiplatform ecology. Offering fresh critical perspectives and extending previous scholarship, case studies range from The Lego Movie, Mad Max, and Australian stars in Hollywood, to transnational co-productions, YouTube channels, transmedia and nature-cam documentaries. New research on trends – such as the convergence of television and film, digital transformations of screen production and the shifting roles of women on and off-screen – highlight how established precedents have been influenced by new realities beyond both cinema and the national. Written in an accessible style that does not require knowledge of cinema studies or Australian studies Presents original research on Australian actors, such as Cate Blanchett and Chris Hemsworth, their training, branding, and path from Australia to Hollywood Explores the films and filmmakers of the Blak Wave and their challenge to Australian settler-colonial history and white identity Expands the critical definition of cinema to include YouTube channels, transmedia documentaries, multiplatform changescapes and cinematic remix Introduces readers to founding texts in Australian screen studies A Companion to Australian Cinema is an ideal introductory text for teachers and students in areas including film and media studies, cultural and gender studies, and Australian history and politics, as well as a valuable resource for educators and other professionals in the humanities and creative arts. |
| dogville screenplay: Politics as Form in Lars von Trier Angelos Koutsourakis, 2013-10-24 This is the first study that employs a materialist framework to discuss the political implications of form in the films of Lars von Trier. Focusing mainly on early films, Politics as Form in Lars von Trier identifies recurring formal elements in von Trier's oeuvre and discusses the formal complexity of his films under the rubric of the post-Brechtian. Through an in depth formal analysis, the book shows that Brecht is more important to von Trier's work than most critics acknowledge and deems von Trier a dialectical filmmaker. This study draws on many untranslated resources and features interviews with Lars von Trier and his mentor, the great Danish director Jørgen Leth. |
| dogville screenplay: Bible and Film: The Basics Matthew S. Rindge, 2021-07-21 Bible and Film: The Basics is a concise, accessible, and illuminating introduction to the study of Bible and Film. The book introduces non-specialists to the essential content in Bible and Film, and to some of the most common and important methods Bible and Film scholars use. Questions asked throughout the book include: How do films (re)interpret and illuminate biblical texts? How do films appropriate, reconfigure, and transform biblical texts? How does a film's treatment of biblical texts help interpret and illuminate the film? This book examines various types of interplay between film and the Bible. The theme of ‘Bible on film’ is explored through Hebrew Bible epics including The Prince of Egypt and Noah, and Jesus films such as The Last Temptation of Christ and Son of Man. The theme ‘Bible in film’ is analyzed through films including Mary Magdalene, Magnolia, Pulp Fiction, and The Book of Eli. Films that ‘reimagine the Bible’ include Ex Machina, mother!, and The Tree of Life; unusual Jesus figures in Pan’s Labyrinth, Dogville, and Donnie Darko are also explored. ‘Film as Bible’ considers films such as To the Wonder, Silence, and Parasite. A conclusion examines television shows such as Dekalog, The West Wing, The Handmaid’s Tale, and God on Trial. With a glossary of key terms and suggestions for further reading throughout, this book is an ideal starting point for anyone seeking a full introduction to religion and film, bible and film, bible and popular culture, and theology and film. |
| dogville screenplay: Lars Von Trier Jack Stevenson, 2019-07-25 With the international success of Breaking the Waves (1996) and Dancer in the Dark (2000), Lars von Trier has established himself as a one of the most provocative and daring film directors working today. The founding father of Dogma 95, he made the movement's most controversial film, The Idiots (1998), and has played a leading role in the recent resurgence of Danish cinema. Yet despite his success, von Trier remains something of an polarising and enigmatic figure hailed as the new Godard by some and a charlatan by others. In this new study, Jack Stevenson explores the achievements as well as the paradoxes of Lars von Trier, assessing his life, work, and critical reception. The book follows von Trier from his early life as a troubled son of 'Cultural Radical' parents through to his student days at the Danish Film School, diligently spent making films that were as innovative and disturbing as his later features have proved to be. These films (consisting of the Europa and Gold-Hearted trilogies) are fully examined together with considerations of his creative detours into other media and his current work in progress, Dogville. Based in Denmark, the author brings a unique perspective to Lars von Trier creating a multi-dimensional portrait of the director. Utilising sources heretofore unavailable in English, Stevenson's lively yet fact-filled narrative is accessible to students and film enthusiasts alike. The book is indispensable to anyone interested in Lars von Trier and the broader issues that surround modern Danish film and its current renaissance. |
| dogville screenplay: Alain Resnais (French Film Directors) Emma Wilson, 2006-09-19 Tracing the evolving patterns of Alain Resnais's filmmaking, and its changing reflections on mortality, guilt, chance and human doubt, this work provides an introduction to the French film director's work, from his earliest documentaries to his musical films. |
| dogville screenplay: Film Trilogies C. Perkins, C. Verevis, 2012-02-21 Drawing on a wide range of examples, this book – the first devoted to the phenomenon of the film trilogy– provides a dynamic investigation of the ways in which the trilogy form engages key issues in contemporary discussions of film remaking, adaptation, sequelization and serialization. |
| dogville screenplay: Rape-Revenge Films Alexandra Heller-Nicholas, 2021-03-30 Often considered the lowest depth to which cinema can plummet, the rape-revenge film is broadly dismissed as fundamentally exploitative and sensational, catering only to a demented, regressive demographic. This second edition, ten years after the first, continues the assessment of these films and the discourse they provoke. Included is a new chapter about women-directed rape-revenge films, a phenomenon that--revitalized since #MeToo exploded in late 2017--is a filmmaking tradition with a history that transcends a contemporary context. Featuring both famous and unknown movies, controversial and widely celebrated filmmakers, as well as rape-revenge cinema from around the world, this revised edition demonstrates that diverse and often contradictory treatments of sexual violence exist simultaneously. |
| dogville screenplay: Roger Ebert's Movie Yearbook 2011 Roger Ebert, 2010-09-14 Roger Ebert's criticism shows a nearly unequaled grasp of film history and technique, and formidable intellectual range. --New York Times Pulitzer Prize-winning film critic Roger Ebert presents more than 500 full-length critical movie reviews, along with interviews, essays, tributes, journal entries, and Q and As from Questions for the Movie Answer Man inside Roger Ebert's Movie Yearbook 2011. From Inglourious Basterds and Crazy Heart to Avatar, Fantastic Mr. Fox, and the South Korean sensation The Chaser, Roger Ebert's Movie Yearbook 2011. includes every movie review Ebert has written from January 2008 to July 2010. Also included in the Yearbook are: * In-depth interviews with newsmakers such as Muhammad Ali and Jason Reitman. * Tributes to Eric Rohmer, Roy Disney, John Hughes, and Walter Cronkite. * Essays on the Oscars, reports from the Cannes Film Festival, and entries into Ebert's Little Movie Glossary. |
| dogville screenplay: Cinema/Politics/Philosophy Nico Baumbach, 2018-10-30 Almost fifty years ago, Jean-Louis Comolli and Jean Narboni published the manifesto “Cinema/Ideology/Criticism,” helping to set the agenda for a generation of film theory that used cinema as a means of critiquing capitalist ideology. In recent decades, film studies has moved away from politicized theory, abandoning the productive ways in which theory understands the relationship between cinema, politics, and art. In Cinema/Politics/Philosophy, Nico Baumbach revisits the much-maligned tradition of seventies film theory to reconsider: What does it mean to call cinema political? In this concise and provocative book, Baumbach argues that we need a new philosophical approach that sees cinema as both a mode of thought and a form of politics. Through close readings of the writings on cinema by the contemporary continental philosophers Jacques Rancière, Alain Badiou, and Giorgio Agamben, he asks us to rethink both the legacy of ideology critique and Deleuzian film-philosophy. He explores how cinema can condition philosophy through its own means, challenging received ideas about what is seeable, sayable, and doable. Cinema/Politics/Philosophy offers fundamental new ways to think about cinema as thought, art, and politics. |
| dogville screenplay: My Fair Ladies Julie Wosk, 2015-07-28 The fantasy of a male creator constructing his perfect woman dates back to the Greek myth of Pygmalion and Galatea. Yet as technology has advanced over the past century, the figure of the lifelike manmade woman has become nearly ubiquitous, popping up in everything from Bride of Frankenstein to Weird Science to The Stepford Wives. Now Julie Wosk takes us on a fascinating tour through this bevy of artificial women, revealing the array of cultural fantasies and fears they embody. My Fair Ladies considers how female automatons have been represented as objects of desire in fiction and how “living dolls” have been manufactured as real-world fetish objects. But it also examines the many works in which the “perfect” woman turns out to be artificial—a robot or doll—and thus becomes a source of uncanny horror. Finally, Wosk introduces us to a variety of female artists, writers, and filmmakers—from Cindy Sherman to Shelley Jackson to Zoe Kazan—who have cleverly crafted their own images of simulated women. Anything but dry, My Fair Ladies draws upon Wosk’s own experiences as a young female Playboy copywriter and as a child of the “feminine mystique” era to show how images of the artificial woman have loomed large over real women’s lives. Lavishly illustrated with film stills, artwork, and vintage advertisements, this book offers a fresh look at familiar myths about gender, technology, and artistic creation. |
| dogville screenplay: Interviews Jan Lumholdt, 2003 A collection of interviews with the most intriguing film director to emerge in Denmark since the days of his great mentor in spirit Carl Theodor Dreyer |
| dogville screenplay: Motion Picture Almanac , 2006 |
| dogville screenplay: Encyclopedia of Religion and Film Eric Michael Mazur, 2011-03-08 Comprising 91 A–Z entries, this encyclopedia provides a broad and comprehensive introduction to the topic of religion within film. Technology has enabled films to reach much wider audiences, enabling today's viewers to access a dizzying number of films that employ diverse symbolism and communicate a vast array of viewpoints. Encyclopedia of Religion and Film will provide such an audience with the tools to begin their own exploration of the deeper meanings of these films and grasp the religious significance within. Organized alphabetically, this encyclopedia provides more than 90 entries on the larger religious traditions, the major film-producing regions of the globe, the films that have stirred controversy, the most significant religious symbols, and the more important filmmakers. The included topics provide substantially more information on the intersection of religion and film than any of the similar volumes currently available. While the emphasis is on the English-speaking world and the films produced therein, there is also substantial representation of non-English, non-Western film and filmmakers, providing significant intercultural coverage to the topic. |
| dogville screenplay: Motion Pictures Library of Congress. Copyright Office, 1951 |
Dogville - Wikipedia
Dogville is a 2003 experimental drama film written and directed by Lars von Trier. It features an ensemble cast led by Nicole Kidman, Lauren Bacall, Paul Bettany, Chloë Sevigny, Stellan …
Dogville (2003) - IMDb
Dogville: Directed by Lars von Trier. With Nicole Kidman, Harriet Andersson, Lauren Bacall, Jean-Marc Barr. A woman on the run from the mob is reluctantly accepted in a small Colorado …
Dogville movie review & film summary (2004) - Roger Ebert
Apr 9, 2004 · Lars von Trier exhibits the imagination of an artist and the pedantry of a crank in "Dogville," a film that works as a demonstration of how a good idea can go
Dogville streaming: where to watch movie online? - JustWatch
Find out how and where to watch "Dogville" online on Netflix, Prime Video, and Disney+ today – including 4K and free options.
Watch Dogville | Prime Video - amazon.com
In Depression-era America, a beautiful fugitive named Grace arrives at a small town in the Rocky Mountains on the run from the mob. Offering to work in exchange for asylum, Grace is …
Dogville Explained: Meaning & Analysis - Mindlybiz
Dec 15, 2021 · The meaning behind Lars von Trier’s movie. We analyze and explain Dogville (2003) using some of the teachings of Stoicism and Nietzsche’s philosophy.
Dogville Reviews - Metacritic
Mar 26, 2004 · If Dogville has a reason for importance, it is the astonishing all-star ensemble who try very hard to put life into their cardboard characters and make this silly film work.
Dogville (2003) - The Movie Database (TMDB)
Mar 26, 2004 · When beautiful young Grace arrives in the isolated township of Dogville, the small community agrees to hide her from a gang of ruthless gangsters, and, in return, Grace agrees …
Where to Watch Dogville (2004) - Moviefone
Stream 'Dogville (2004)' and watch online. Discover streaming options, rental services, and purchase links for this movie on Moviefone. Watch at home and immerse yourself in this …
Everything You Need to Know About Dogville Movie (2004)
Set in an American Town in the Rocky Mountains in the 1930s, a woman arrives who changes things for everyone. Dogville is shot exclusively in a studio with a minimum of props allowing …
Dogville - Wikipedia
Dogville is a 2003 experimental drama film written and directed by Lars von Trier. It features an ensemble cast led by Nicole Kidman, Lauren Bacall, Paul Bettany, Chloë Sevigny, Stellan …
Dogville (2003) - IMDb
Dogville: Directed by Lars von Trier. With Nicole Kidman, Harriet Andersson, Lauren Bacall, Jean-Marc Barr. A woman on the run from the mob is reluctantly accepted in a small Colorado …
Dogville movie review & film summary (2004) - Roger Ebert
Apr 9, 2004 · Lars von Trier exhibits the imagination of an artist and the pedantry of a crank in "Dogville," a film that works as a demonstration of how a good idea can go
Dogville streaming: where to watch movie online? - JustWatch
Find out how and where to watch "Dogville" online on Netflix, Prime Video, and Disney+ today – including 4K and free options.
Watch Dogville | Prime Video - amazon.com
In Depression-era America, a beautiful fugitive named Grace arrives at a small town in the Rocky Mountains on the run from the mob. Offering to work in exchange for asylum, Grace is …
Dogville Explained: Meaning & Analysis - Mindlybiz
Dec 15, 2021 · The meaning behind Lars von Trier’s movie. We analyze and explain Dogville (2003) using some of the teachings of Stoicism and Nietzsche’s philosophy.
Dogville Reviews - Metacritic
Mar 26, 2004 · If Dogville has a reason for importance, it is the astonishing all-star ensemble who try very hard to put life into their cardboard characters and make this silly film work.
Dogville (2003) - The Movie Database (TMDB)
Mar 26, 2004 · When beautiful young Grace arrives in the isolated township of Dogville, the small community agrees to hide her from a gang of ruthless gangsters, and, in return, Grace agrees …
Where to Watch Dogville (2004) - Moviefone
Stream 'Dogville (2004)' and watch online. Discover streaming options, rental services, and purchase links for this movie on Moviefone. Watch at home and immerse yourself in this …
Everything You Need to Know About Dogville Movie (2004)
Set in an American Town in the Rocky Mountains in the 1930s, a woman arrives who changes things for everyone. Dogville is shot exclusively in a studio with a minimum of props allowing …
