Le Manifeste de 1995: Le Dogme et le cinéma numérique (original) (raw)

Dogma 95 manifesto and the ordinary act of filmmaking

2007

From the beginning of its conception Dogma 95 manifesto incited several debates related with cinema and other realms of culture. The manifesto became a motivation for a series of internationally acclaimed Danish films alongside it spurred many independent filmmakers from all around of the world. Analyzing the emergence, institutionalization and expansion of the Dogma concept offers many possibilities in understanding the zeitgeist of the last decade of the longest century of history. Politics and aesthetics always went hand in hand in the Dogma program. The main concern of the manifesto was the political economy of filmmaking. Dogma 95 manifesto definitely offered a new filmmaking strategy apart from Hollywood whose visual ideology is determined by the oligopolistic market and international capital structures. Also within the context of the European cinema the Dogma movement was different since it did not closeted itself within a debate between globalization and national cultures. Following Lefebvre's ideas one may argue that Dogma 95 manifesto proposed to construct a new social space for filmmaking which is more inclusive and democratic. Even though the film aesthetics seems to be denied in the manifesto, an analysis based upon the premises of the performance theory shows us the fact that Dogma 95 manifesto proposed a frame within which the political criticism is included, and this frame is not exempt from the realm of aesthetics. Lars von Trier's Idiots can be considered as a critical account on the utopian Dogma project. Through its self reflexivity, inclusive yet provocative nature Dogma 95 manifesto spurs an intellectual interrogation about the very basics and the future of cinema.

The Celebration: Analyzing realism in Dogme 95 Manifesto film

Bahasa dan Seni: Jurnal Bahasa, Sastra, Seni, dan Pengajarannya

The Celebration: Analyzing realism in Dogme 95 Manifesto filmBelieving that the film industry is getting worse by utilizing simple plots and only emphasizing on the editing and the cosmetics, European filmmakers and theorists make their own style of realistic film movements as a reaction to Hollywood’s mainstream filmmaking style. One of which is the famed Dogme 95 Manifesto film movement in Denmark propagated by Lars von Trier. Dogme 95 Manifesto is a set of rules that needs to be followed by filmmakers in order to make a Dogme film. It is believed that by following this rule will restrain the filmmakers’ creativity, focusing more on the realism inside the film, and “purifying” the film industry. In this paper, we analyze realism in Dogme 95 through one of its successful milestones: The Celebration by Thomas Vinterburg through its cinematography and Dogme 95 rules within the film. We argue that as opposed to bringing realistic images on the screen, The Celebration brings atmospheri...

Films into Uniform: Dogme 95 and the Last New Wave

Blackwell’s Companion to Nordic Cinema , 2016

19 Nearly 20 years after the issuing of the Dogme 95 manifesto and the "Vow of Chastity," it may at times be difficult to see the originality and audacity of Lars von Trier and Thomas Vinterberg's movement. Dogme 95 challenged many pre-conceptions about European art cinema and feature filmmaking at the fin du siècle, mobilized both publicity and branding as means of bringing a minor national cinema to the forefront of film culture, combined a prescience about the possibilities of digital technology and nostalgia for earlier European waves and analogue indexicality, and revitalized the very Euro nouvelle vague cinematic traditions that it placed itself in relation to as a call-to-arms. My aim in this chapter is to delineate some of these strands of thought, examining Dogme 95 as the culmination of the European art cinema traditions born out of the end of World War II, in order to consider some of the most salient arguments that have been made about the movement, the films, their impact, and the movement's legacy. Some of these topics include: the roles of rule following and practitioner's agency; Dogme 95's influence on Danish and Nordic filmmaking in subsequent years, especially but not limited to the works of Lars von Trier; Dogme's influence on other, concurrent and post-Dogme 95 European film movements; and the rise of digital aesthetics as a key component of independent cinema. Cinephilia, Death, and Nostalgia Dogme 95 began as a provocation by von Trier and Vinterberg during the celebrations of cinema's centenary, at a time when Susan Sontag famously claimed that the centenary of cinema marked its imminent passing, stating "cinema's hundred years appear to have the shape of a life cycle: an inevitable birth, the steady accumulation of glories, and the onset in the last decade of an ignominious, irreversible decline"

Caroline Bainbridge (2007) The Cinema of Lars von Trier: Authenticity and Artifice

Film-Philosophy, 2008

King's College, London For his special achievement in the realm of European Cinema, Lars von Trier recently received the 2008 Bremen Film Prize (Bremer Filmpreis) at the opening ceremony of this year's Bremen International Film Conference. While von Trier's acceptance of this prestigious award will no doubt further secure his position as one of the most remarkable auteurs of his generation, this year also marks a decade since the release of his first official Dogme film The Idiots (Idioterne, 1998) and work also begins this summer on Antichrist (2009), the eleventh feature in the Danish filmmaker's impressive oeuvre. Reflecting on von Trier's radical contemporary cinema, Caroline Bainbridge's study is, then, particularly timely and indeed testament to the impassioned contribution von Trier has made to filmmaking over the last twenty years. Bainbridge's book is also the first publication to offer a sustained treatment of von Trier's work since Jack Stevenson's 2002 authoritative overview published as part of the BFI's World Directors Series. Certainly, given the five year period between the two works, Bainbridge's book features more recent films such as Manderlay (2005), Dogville (2003), The Five Obstructions (2003) and The Boss of it All (2006), but this is not to say that her aim is at all limited to these films or indeed to Film-Philosophy, 12.1

Film Review Dogville: Trier's America à la Brecht

Journal of American Studies of Turkey, 2003

Rarely has a major European director managed to escape the appeal of Hollywood. Danish film director Lars von Trier is one of those exceptions. Unlike most other European directors who make their journeys to America after their major successes in Europe, only to take part in bigger productions at the expense of their originality, Trier chooses to remain the director he is, still experimenting with the art of cinema. With Dogville, he escapes the Hollywood clichés which other directors depend on and paints a critical picture of America using a Brechtian style.

Dogma Brothers: Lars Von Trier and Thomas Vinterberg

New Punk Cinema, 2005

Viewed in terms of a punk aesthetic, the apparent contradictions between Dogma's rule-making and rule-breaking begin to make sense, especially in the work of the movement's two main founders, von Trier and Vinterberg. Punk logic is what best encapsulates their ethos, if not the movement as a whole. This essay therefore presents case studies of their work following a general discussion of Dogma's punk idiom.

On Lars von Trier, Enfant Terrible of Danish Art Film

Kinema: A Journal for Film and Audiovisual Media

THE PROBLEM WITH PROVOCATION: ON LARS VON TRIER, ENFANT TERRIBLE OF DANISH ART FILM Anyone interested in contemporary art is likely to have spent a good deal of time pondering the nature and role of artistic provocation. Provocation as a crucial feature of artistic practice was largely unknown before 1800 (Walker 1999: 1). The idea of…

"Developing an Appreciation for Film and European Cinema." [2017]

Alphaville: Journal of Film and Screen Media , 2017

The "Teaching European Cinema" dossier has grown out of the European University Film Award (EUFA) project that was initiated in 2016 by Filmfest Hamburg in collaboration with the European Film Academy (EFA) and the European Network for Cinema and Media Studies (NECS). In its second edition in 2017, the EUFA connected twenty European universities in a common teaching project in which five nominated films were analysed and discussed in courses of the respective universities. Subsequently, one student representative per country joined the three-day student jury deliberation in Hamburg and voted for the final EUFA winner. In 2016, Ken Loach's I, Daniel Blake (2016, Guðmundur Arnar Guðmundsson's Heartstone (Hjartasteinn, 2016 was awarded the prize. The dossier works on different levels: first, it aims to present the EUFA project to a wider public; second, it promotes an exchange among the participating colleagues; and third, it operates as a teaching dossier for scholars within the wider field of European film and media studies to discuss questions of how best to teach contemporary European cinema. Figure 1: Presentation of the EUFA 2016 prize at Studio Cinema in Hamburg. Photo: EUFA/K. Brunnhofer.