Auteur Theory Research Paper

Auteur Theory is based on the premise that a filmmaker's personal technique gives his or her films a distinctive style. Furthermore, studies on the Auteur Theory in Film have often looked towards Lars Von Trier as the Cinemas "enfant terrible" due to his controversial approach to rebelling against the conventional with provocative ideas and projects in each of his films. Born near Copenhagen in 1956, the future filmmaker had an atypical childhood. As a student at Denmark's National film school, Von Trier produced his first feature films 'The Element of Crime' (1984) and 'Europa' (1991) which were hailed for their complex visual style. Europa was pegged as a contender for the top prize at Cannes Films Festival for its astonishing visuals and

Von Trier's source of inspiration stems from the influence of Russian filmmaker, Andrei Tarkovsky, with his work often rife with references to one of the Soviet Union's greatest auteurs. Tarvosky used symbols, rhythm, and movements to share lasting stories which forever had an impact on Von Triers future features. The directors claim on his craft, was, in order to create original art, filmmakers should distinguish themselves from each other, stylistically. This philosophy truly came to fruition when Von Trier and fellow Dane filmmaker, Thomas Vinterburg set new rules for modern filmmaking called the Dogme Manifesto. Among Dogmes nine rules, all films must be shot on location, without any external props or lighting and the camera must be hand-held, challenging the traditional codes and conventions of filmmaking. Conversely, Von Triers first Dogme film, "The Idiots" (1998), showcases the odd behaviour of a group of adults who find therapeutic release in acting like idiots with fabricated mental disabilities in an upscale restaurant with a jarring video aesthetic to challenge bourgeois values. The director's low-tech provocation made the film debut at Cannes; however, it was also banned in several countries due to its explicit scenes and representation of mental illnesses. After the release of "The Idiots", Von Trier thrived off the audience's discomfort, stating

Aside from the director's ability to excel in the seldom mention predominance of human drama, Von Trier's use of unconventional editing also manages to exaggerate the emotions through the extremities of his characters and stories. After the establishment of the Dogme Manifesto, Von Trier released 'Breaking the Waves' (1996). The feature wasn't considered to be a Dogme film, however, the films Mise en Scene elements were similar to the realistic sensibility of the obeyed rules. In a Calvinist community in the Scottish Highlands, a devoutly religious woman, Bess, played by Emilee Watson, falls in love with an oil rig worker who is recently paralysed in an accident. Due to her mental instability, she comes to believe that prostituting herself is the only way to cure him. The story focuses on the parallels of total devotion and sinks into depravity as Bess willingly degrades herself. A technique inherited from the Dogme movement which is recurring in Von Trier's films, is his style of frantic editing, in specific, archetypal cutting. In 'Breaking the Waves', the use of agile camera work, paired with short shots, capture the absolute peaks of emotion. For example, within the last few sequences of the film, the intensity builds, and the shots quicken, as Bess descends into a ships cavern, convinced God