42,49 €
Woman in Lars von Trier's Cinema, 1996-2014
Woman in Lars von Trier's Cinema, 1996-2014
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Woman in Lars von Trier's Cinema, 1996-2014
Woman in Lars von Trier's Cinema, 1996-2014
El. knyga:
42,49 €
This book discusses the figure of Woman in Lars von Trier s distinctive cinematic productions from 1996 to 2014. It takes the notorious legacy of violence against women in von Trier s cinema beyond the perceived gender division, elevating the director s image above being a mere provocateur. By raising fundamental questions about woman, sexuality, and desire, Elbeshlawy shows that Trier(s cinematic Woman is an attempt at creating an image of a genderless subject that is not inhibited by the conf…

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This book discusses the figure of Woman in Lars von Trier s distinctive cinematic productions from 1996 to 2014. It takes the notorious legacy of violence against women in von Trier s cinema beyond the perceived gender division, elevating the director s image above being a mere provocateur. By raising fundamental questions about woman, sexuality, and desire, Elbeshlawy shows that Trier(s cinematic Woman is an attempt at creating an image of a genderless subject that is not inhibited by the confines of ideology and culture. But this attempt is perennially ill-fated. And it is this failure that not only fosters viewing enjoyment but also gives the films their political importance, elevating them above both commendations and condemnations of feminist discourse.
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This book discusses the figure of Woman in Lars von Trier s distinctive cinematic productions from 1996 to 2014. It takes the notorious legacy of violence against women in von Trier s cinema beyond the perceived gender division, elevating the director s image above being a mere provocateur. By raising fundamental questions about woman, sexuality, and desire, Elbeshlawy shows that Trier(s cinematic Woman is an attempt at creating an image of a genderless subject that is not inhibited by the confines of ideology and culture. But this attempt is perennially ill-fated. And it is this failure that not only fosters viewing enjoyment but also gives the films their political importance, elevating them above both commendations and condemnations of feminist discourse.
"

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