Lars von Trier is undoubtedly a polarizing filmmaker. His repertoire invokes a range of emotions from earnest avoidance to curious infatuation. He’s been pointed out as a purveyor of misogyny as he famously and deliberately places many of his females in rather unkind situations to say the least (i.e. the brain-searing climax in Antichrist). And his penchant to depict the uncomfortable and sometimes unfathomable has been interpreted as obscene and sensationalist for its own sake. And yet his work continues to prevail, standing on its own, whole and unapologetic.
Nymphomaniac: Volumes I & II is the last installment of his Depression Trilogy which also includes the preceding Antichrist and Melancholia. The trilogy purportedly transpired as the director dealt with his own struggles with depression. Although each tale shares its own harrowing interpretation of the crippling emotional turmoil, Nymphomaniac may just be the boldest chapter to come to fruition.
Nymphomaniac, split into two parts due to its unpalatable running time is a story framed within a story. Wounded and left in an alley, presumably to die, Joe (Charlotte Gainsbourg), is taken in by an older gentleman Seligman (Stellan Skarsgard). Coaxed by the sympathetic Samaritan and perhaps simply by her need for any semblance of a cathartic release, Joe shares her history: her sexual evolution leading up to present. Her candid even nonchalant recount begins from the age of two, the beginning of a bold exploration of the equivocal and teetering link between self and sex.
In the first volume, Joe begins to narrate her erotic history with an uncommon degree of candor which is both startling yet well received by the nonthreatening Seligman who eagerly lends an ear. He is an activ...
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...raphy masqueraded as art. Von Trier’s films continue to serve a more acquired taste (and those with a strong stomach) and Nymphomaniac continues this fashion. It’s a bold meditation on sexuality saturated with intellect, absurdity, dark humor, and with Von Trier at the helm, there’s definitely nothing quite like it.
Perhaps the only difference between me and other people is that I've always demanded more from the sunset.
reconcile, irreconcilable a true embodiment of her circumstances and actions which
The insatiable woman and her desire for the unattainable is
It offers the audience a disturbing and yet beautiful consideration of matters that are for the most part left untouched.
A meditation
naught
, is a startling testimony to his capacity to explore the unsavory and contraband without having to answer to anyone of a higher power.
copulation
This essay argues that the film Bridesmaids transcends traditional representations of feminine desire that exhibits women as spectacles of erotic pleasure, through the symbolic reversal of gender identity in cinematic spaces. By discussing feminist perspectives on cinema, along with psychoanalytic theory and ideological narratives of female image, this essay will prove Bridesmaids embodies a new form of feminine desire coded in the space of the comedic film industry.
Kinsey, a film written and directed by Bill Condon, chronicles the story of well renowned human sexuality researcher Alfred Kinsey, and his struggles of being the first to study what was considered a taboo subject back in that time period. The film does a great job of not only telling his story, but it also integrating real theories from psychology and sociology.
Film making has gone through quite the substantial change since it’s initial coining just before the turn of the 19th century, and one would tend argue that the largest amount of this change has come quite recently or more so in the latter part of film’s history as a whole. One of the more prominent changes having taken place being the role of women in film. Once upon a time having a very set role in the industry, such as editing for example. To mention briefly the likes of Dede Allen, Verna Fields, Thelma Schoonmaker and so forth. Our female counterparts now occupy virtually every aspect of the film making industry that males do; and in many instances excel past us. Quite clearly this change has taken place behind the lens, but has it taken
The climax is illustrated and clarified through the symbolic tearing or exposing of the bare walls. She wants to free the woman within, yet ends up trading places, or becoming, that "other" woman completely. Her husband's reaction only serves as closure to her psychotic episode, forcing him into the unfortunate realization that she has been unwell this whole time.
November 1998, written for FILM 220: Aspects of Criticism. This is a 24-week course for second-year students, examining methods of critical analysis, interpretation and evaluation. The final assignment was simply to write a 1000-word critical essay on a film seen in class during the final six-weeks of the course. Students were expected to draw on concepts they had studied over the length of the course.
His experimental and unique perverse screenwriting has shocked and inspired numerous people. His aesthetics painted horror vividly and presented itself dramatically. His musical and cinematic vision was a healthy extension of his devilishly, clever, and demented mind. His modes of publication with music, film and print, had and still a tremendous fanbase. He has gained our attention in every media related forum and we can’t look away, even if we try. He has left us cheering, screaming and on the edge of our seats. We leave feeling bad about ourselves for watching his visual storytelling unfold. “You know, it’s like, I’m going to sit here for 90 minutes and watch these guys get fucked up with no hope. That’s what I love about these films, you walk out feeling bad about yourself, saying “Why did I enjoy that? What does this say about me as a person?” It is a cathartic experience that horror lovers can have again and again. Not acting on those horrific urges, but instead, becoming one of his characters that were just never really understood and that evil is real. Evil never dies and revenge always wins or at least in horror
...was a desperate act of a lonely, insane woman who could not bear to loose him. The structure of this story, however, is such that the important details are delivered in almost random order, without a clear road map that connects events. The ending comes as a morbid shock, until a second reading of the story reveals the carefully hidden details that foreshadow the logical conclusion.
In the French film 8 Femmes, François Ozon, the director, guides a play from the 1950’s that focuses on a lively family that have deep secrets that all intertwine. In this musical mystery, comedy film, a murder has happened and each woman has their own motives for wanting to kill the man in the home. Yet, Ozon’s storyline is not the main focus of the film. The film follows each of the women which show the themes of betrayal, secrets, and most importantly sexuality. Sexuality is a main theme in many of François Ozon films that he directs. Sexuality in the cinema can be seen in many of his films because it affects Ozon personally.
“A Beautiful Mind” is a remarkable movie that sheds light on a complicated and debilitating disorder, in which the person seems to have no control over. It is enlightening and heart warming, I would highly recommend this movie. I must admit, the first time I watch the movie, I went into it not knowing anything about schizophrenia and when it was over, I still felt like I didn’t fully understand the disorder; however, the second time I watched with the knowledge of what schizophrenia is and all of the various symptoms and I find it astonishing that Nash was able to overcome the disorder by sheer willpower over his own mind, as he chose to ignore the voices in his head.
thoughts delving into our minds to make us reflect upon feelings or experiences that we neglect in life when awake. Connie often flirts with her feelings about sexual encounters. In fact, Larry Rubin believes that “Connie’s intense desire for a sexual experience runs head long into her innate fear of having such an experience” (58). Connie’s tendency to eventually dismiss these fears forces the reader to make the connection between her experience wit...
Film scholar and gender theorist Linda Williams begins her article “Film Bodies: Genre, Gender and Excess,” with an anecdote about a dispute between herself and her son, regarding what is considered “gross,” (727) in films. It is this anecdote that invites her readers to understand the motivations and implications of films that fall under the category of “body” genre, namely, horror films, melodramas, (henceforth referred to as “weepies”) and pornography. Williams explains that, in regards to excess, the constant attempts at “determining where to draw the line,” (727) has inspired her and other theorists alike to question the inspirations, motivations, and implications of these “body genre” films. After her own research and consideration, Williams explains that she believes there is “value in thinking about the form, function, and system of seemingly gratuitous excesses in these three genres,” (728) and she will attempt to prove that these films are excessive on purpose, in order to inspire a collective physical effect on the audience that cannot be experienced when watching other genres.
...ea. "Film and Mental Illness: Fetishisation, Romanticism or Misinterpretation?"Diorama. Diorama, 13 Mar. 2013. Web. 05 Mar. 2014.
...et in the 1950’s; during the 1950’s one method of treatment for Schizophrenia were lobotomies. In the middle of the movie the audience is looking through this movie gives great insight into the mind of a mental ill, young woman. The movie shows how her disease may have been triggered in young Baby Doll. Young Baby Doll learned to dissociate herself from her surroundings, when the abuse by her stepfather first began. She created a dream world where she was the heroine, to escape the reality where she was the victim. The movie vividly displays the imaginary world that those diagnosed with Schizophrenia may fall into, and other symptoms that they may display. A person suffering with Schizophrenia often cannot differentiate between what is real and what is not. It is evident that the worlds that are full of dragons and giant ninjas, is not something that is not real.
“Entertainment has to come hand in hand with a little bit of medicine, some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies. That, to me, is a lie. Everything’s not okay.” - David Fincher. David Fincher is the director that I am choosing to homage for a number of reasons. I personally find his movies to be some of the deepest, most well made, and beautiful films in recent memory. However it is Fincher’s take on story telling and filmmaking in general that causes me to admire his films so much. This quote exemplifies that, and is something that I whole-heartedly agree with. I am and have always been extremely opinionated and open about my views on the world and I believe that artists have a responsibility to do what they can with their art to help improve the culture that they are helping to create. In this paper I will try to outline exactly how Fincher creates the masterpieces that he does and what I can take from that and apply to my films.
Instead, the film cherry-picks frightening or exaggerated elements of a spectrum of disorders, including schizophrenia, delusional disorder, dissociative identity disorder, and post-traumatic stress disorder. This makes Laeddis an embodiment of a combination of the most frightening psychological disorders. While there are certain aspects of Laeddis’ psychosis that are accurate in terms of an individual disorder, these elements do not add up to a realistic portrayal of mental illness. This combination of fact and fiction also extends to the film’s treatment of institutionalization, psychological therapy, and the connection between violence and mental illness. The exaggerations and distortions of Shutter Island serve one purpose, they entertain the audience. However, this type of entertainment often comes at the cost of perpetuating the negative stigma and misinformation that surrounds mental illness in modern society. While the film may entertain audiences with its dramatic twists and turns, Shutter Island is a part of a trend of inaccuracies and exaggeration of mental illness in modern