Lars von Trier: Provocation, Condemnation and Confrontation

Abstract

Lars von Trier role as a provocateur, although well established, is central to his paratextuality. Approaching his performances in the film festival space as additional paratexts, the chapter shows how the director adds a transgressive capital to his films through these external acts. The chapter then instigates a detailed paratextual study of Antichrist. The chapter illustrates how Chelsea Films, a sub-branch of the larger Curzon conglomerate, adopts a generic horror schema for its paratextual presentation of Antichrist. Discussing the ramifications of the company’s decision to position a pair of bloody scissors on the film’s cover, the chapter concludes that the use of a horror narrative image simplifies the text and nullifies its arthouse credentials. Thereafter, the chapter explores Artificial Eye’s remediation, suggesting that the company are unsuccessful in their attempt to redefine the film within the parameters of art cinema. Finishing with an exploration of the film’s involvement in the Film4 Extreme Season, the chapter highlights the differences between the commercial representation of extremity on DVD and Television, showing the latter to be more flexible.