Politics as Form in Lars von Trier
A Post-Brechtian Reading
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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 what most critics seem to acknowledge and deems von Trier as a dialectical filmmaker. This study draws on many untranslated resources and features an interview with Lars von Trier, and another one with his mentor ? the great Danish director Jørgen Leth.
About this Author
Angelos Koutsourakis is a post-doctoral Research Fellow at the Centre for Modernism Studies in Australia, University of New South Wales, Australia.
Reviews
?Angelos Koutsourakis's stimulating and thought-provoking monograph on Lars von Trier presents the Danish director as a political filmmaker in the Brechtian tradition. In addition to offering a sophisticated and stimulating analysis of the political aspects of Lars von Trier's films, the monograph also has a number of other qualities that make it an essential read for anyone interested in Lars von Trier. It revalorises von Trier's early films and discusses a number of his lesser-known projects (such as the unfinished, and now aborted, Dimension project); it introduces material to which only Danish readers have previously had access, and it includes Koutsourakis's own interviews with Lars von Trier and Jørgen Leth. Finally, like Bainbridge, Koutsourakis presents a number of von Trier's manifestos from 1984 to 2001, giving the reader a lot of material to engage with ?dialectically or not.? ?Nikolaj Lubecker, New Review of Film and Television Studies
?Koutsourakis's examination of the often-examined Lars von Trier is refreshing for a couple of reasons. First, Koutsourakis (research fellow, Centre for Modernism Studies, Univ. of New South Wales, Australia) foregoes biographical attention to von Trier the man in the interest of restoring focus on the formal complexities of the films themselves. Second, Koutsourakis interprets the films through a postmodern rethinking of Bertolt Brecht, and he dedicates the first chapter, 50 pages or so, to Brecht and defining "post-Brechtian"--which should interest scholars of theater, performance studies, and contemporary cinema. The book is strongly argued and will prove useful to those interested in von Trier. Summing Up: Recommended. Upper-division undergraduates through faculty? ?J. Sundquist, Eastern Washington University, CHOICE
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