Politics, Theory, and Film

Whos afraid of controversial arguments? Certainly not the authors of this collection of essays. Without ever looking for the easy way out, they face all the challenges of one of the most provocative contemporary filmmakers. In one word: in front of his films, they think. * Peter Szendy, author of Apocalypse-Cinema *
This remarkable and surprising volume claims Lars von Trier for feminist philosophy and a reparative world practice by turning his exasperating provocations into useful invitations for serious (as well as seriously comic) political thought. Pushing beyond the reflexive, liberal-humanist outrage that too often stunts engagements with von Triers oeuvre, the authors put him in conversation with such figures as Simone de Beauvoir, Georges Bataille, Julia Kristeva, Giorgio Agamben, Davie Bowie, and Søren Kierkegaard and in the context of tragic and queer theory.
Politics, Theory, and Film: Critical Encounters with Lars von Trier finds in his brutal narratives, aesthetic clichés, and seemingly barbarous scenarios the possibility for emancipatory politics. From this volume we learn not only a great deal about von Trier; we also learn how to think about freedom more radically through his compelling example. * Jennifer Fay, author of Theaters of Occupation: Hollywood and the Reeducation of Postwar Germany *
Lars von Trier is one of the worlds most provocative and divisive film-makers around. This book of essays faces squarely the challengeviolent misogyny or searing critique of patriarchy? Pornography and violence or exposure of the clichés of power and desire?and provides a range of brilliant and poised discussions of these extraordinary and dangerous movies. * Simon Goldhill, University of Cambridge *
This exciting collection is fundamentally a gamble. Instead of repudiating Lars von Triers use of cliché and provocation, the contributors double down on the most controversial, problematic, and seemingly intractable figures in his corpus: the Woman, the Sacrifice, the Earth, Evil. Wresting his films from tired evaluations and defensive posture, the essays here approach these tropes and things with due seriousness to show how their intensification in von Triers works constitutes a mode of speculative potential, one that situates the cliché at the ground of cinematic experiment, the cinematic at the heart of political thinking, andmost boldlyvon Trier at the center of feminist theory. * Eugenie Brinkema, author of The Forms of the Affects *