Att frigöra (sig från) moderns begär: om Lars von Triers Antichrist
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Att frigöra (sig från) moderns begär : om Lars von Triers Antichrist. / Rösing, Lilian Munk.
In: Divan.Tidsskrift för psykoanalys och kultur, No. 3-4, 12.2010, p. 69-78.Research output: Contribution to journal › Journal article › Research › peer-review
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TY - JOUR
T1 - Att frigöra (sig från) moderns begär
T2 - om Lars von Triers Antichrist
AU - Rösing, Lilian Munk
PY - 2010/12
Y1 - 2010/12
N2 - This article is an analysis of Lars von Trier’s Antichrist (2009). In spite of the line of the female character in the film, “Freud is dead”, I argue that the film is thoroughly congenial with psychoanalysis in its opening primal scene and in its dream-like aesthetics, turning the characters into representations of one consciousness that could be seen as the little son’s. As I see the film it is as much about a son dealing with the sexuality of his parents (looking much like murder) as about a man and a woman dealing with the loss of their son. Thus the opening scene in a remarkable way transforms the primal scene, the child witnessing his parents’coïtus, into something liberating, perhaps the son’s liberation from maternal desire. Based on Lacan’s understanding of Antigone, I argue that the film is a tragedy, situated in a universe “between two deaths”. Furthermore I show the film’s universe to be the baroque and allegorical universe of a nature radically separated from God and its “anti-christianism” to reside in its depiction of nature as unredeemed as well as in its turning upside down not only the myth of Christ, but also the myth of Oedipus.
AB - This article is an analysis of Lars von Trier’s Antichrist (2009). In spite of the line of the female character in the film, “Freud is dead”, I argue that the film is thoroughly congenial with psychoanalysis in its opening primal scene and in its dream-like aesthetics, turning the characters into representations of one consciousness that could be seen as the little son’s. As I see the film it is as much about a son dealing with the sexuality of his parents (looking much like murder) as about a man and a woman dealing with the loss of their son. Thus the opening scene in a remarkable way transforms the primal scene, the child witnessing his parents’coïtus, into something liberating, perhaps the son’s liberation from maternal desire. Based on Lacan’s understanding of Antigone, I argue that the film is a tragedy, situated in a universe “between two deaths”. Furthermore I show the film’s universe to be the baroque and allegorical universe of a nature radically separated from God and its “anti-christianism” to reside in its depiction of nature as unredeemed as well as in its turning upside down not only the myth of Christ, but also the myth of Oedipus.
KW - Det Humanistiske Fakultet
KW - Lars von Trier
KW - psykoanalytisk filmanalyse
KW - Urscene
KW - dødsdrift
KW - Jacques Lacan
KW - tragedie
KW - allegori
KW - Lars von Trier
KW - Psychoanalytic film analysis
KW - primaeval scene
KW - death wish
KW - Jacques Lacan
KW - tragedy
KW - allegory
M3 - Tidsskriftartikel
SP - 69
EP - 78
JO - Divan: Tidskrift för Psykoanalys och Kultur
JF - Divan: Tidskrift för Psykoanalys och Kultur
SN - 1101-1408
IS - 3-4
ER -
ID: 32315578