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Performative Realism
New forms of art, culture and theory have recently emerged through engagements with the realities of the social world and everyday life which are not primarily about representation but rather about participation and narration. These new forms are based on viewer responses and engagement, thus performatively creating open-ended situations rather than autonomous works with closure. Performative theory, drawing mostly on studies of speech acts, proves adequate to describe and analyse these new forms of art and culture and their engagement with the real. Performative Realism scrutinizes a range of contemporary works that experiment with audience participation and processuality within art and culture, as well as it takes issue with theories of performativity and performance. Performative Realism contains contributions from leading Danish scholars working within a broad range of academic fields such as Media Studies, Art History, Theatre Studies and Cultural Studies. The issues addressed covers Scandinavian as well as international installation art, performance art, theatre, photography, movies, literature and role-playing.
Lars von Trier's Renewal of Film 1984-2014
Danish director Lars von Trier has produced more than 20 films since his first appearance with The Elements of Crime in 1984. One of the most acknowledged - and most controversial - film directors of our time, Trier's films often escape the representational production of meaning. In Lars von Trier's Renewal of Film 1984-2014. Signal, Pixel, Diagram scholar Bodil Marie Stavning Thomsen offers a comprehensive discussion of Lars von Trier's collected works. Examining Trier's experiments with narrative forms, genre, camera usage, light, and colour tones, she shows how Trier's unique ethically involving style activates the viewer's entire perception apparatus. In understanding this affective involvement, the author frames the discussion around concepts from Gilles Deleuze, Alois Riegl, Brian Massumi and others on the haptic image, the diagram, affect and the signaletic material.
Lars Von Trier's Renewal of Film 1984-2014
Danish director Lars von Trier has produced more than 20 films since his first appearance with The Elements of Crime in 1984. One of the most acknowledged - and most controversial - film directors of our time, Trier's films often escape the representational production of meaning. In Lars von Trier's Renewal of Film 1984-2014. Signal, Pixel, Diagram scholar Bodil Marie Stavning Thomsen offers a comprehensive discussion of Lars von Trier's collected works. Examining Trier's experiments with narrative forms, genre, camera usage, light, and colour tones, she shows how Trier's unique ethically involving style activates the viewer's entire perception apparatus. In understanding this affective involvement, the author frames the discussion around concepts from Gilles Deleuze, Alois Riegl, Brian Massumi and others on the haptic image, the diagram, affect and the signaletic material.
Lars von Triers fornyelse af filmen 1984-2014
Lars von Triers film- og tv-produktioner har siden hans biografdebut med The Element of Crime i 1984 udløst stærke reaktioner hos publikum, og desuden har han vakt opsigt i hele filmverdenen med Dogme 95-manifestet. I dag regner mange Trier blandt de største nulevende filminstruktører, og med hver ny film forventes han at sætte nye standarder for, hvad filmmediet kan. I denne bog undersøges Lars von Triers affektskabende og etisk involverende stil med udgangspunkt i hans værker over en 30-årig periode, helt op til hans seneste film, Nymphomaniac. Centralt i Bodil Marie Stavning Thomsens læsninger står væsentlige analytiske begreber som det haptiske, det affektive, det diagrammatis...
Globalizing Art
The cultural agenda during the last decade has in Nordic countries embraced a branding of local identities for a global public. The fact that this has taken place concurrently with attempts to establish domestic safeguards toward globalization has not gone unnoticed by contemporary artists. Many Nordic artists have requested a renegotiation of the frameworks constructing national identity and formative images of nationality in light of new transnational relations. The term "Nordic" that has been constructed historically for pragmatic reasons has likewise been under fire as a common symbolic framework whose geopolitical "place" and community has to be reconsidered. All articles in this book d...
A Cultural History of the Avant-Garde in the Nordic Countries Since 1975
The Cultural History of the Avant-Garde in the Nordic Countries Since 1975 brings the series of cultural histories of the avant-garde in the Nordic countries up to the present. It discusses revisions and continuations of historical practices since 1975.
Crime and Fantasy in Scandinavia
Scandinavian popular novels and films have flourished in the last thirty years. In Crime and Fantasy in Scandinavia, Andrew Nestingen argues that the growth and visibility of popular culture have been at the heart of the development of heterogeneous �publics� in Scandinavia, in opposition to the homogenizing influence of the post-World War II welfare state. Novels and films have mobilized readers and viewers, serving as a preeminent site for debates over individualism, collectivity, national homogeneity, gender, and transnational relations. Crime and Fantasy in Scandinavia provides insight into the changing nature of civil society in Scandinavia through the lens of popular culture. Nestingen develops his argument through the examination of genres where the central theme is individual transgression of societal norms: crime films and novels, melodramas, and fantasy fiction. Among the internationally known writers and filmmakers discussed are Henning Mankell, Aki Kaurism�ki, Lukas Moodysson, and Lars von Trier.
The Matrix of Visual Culture
This book explores Gilles Deleuze's contribution to film theory. According to Deleuze, we have come to live in a universe that could be described as metacinematic. His conception of images implies a new kind of camera consciousness, one that determines our perceptions and sense of selves: aspects of our subjectivities are formed in, for instance, action-images, affection-images and time-images. We live in a matrix of visual culture that is always moving and changing. Each image is always connected to an assemblage of affects and forces. This book presents a model, as well as many concrete examples, of how to work with Deleuze in film theory. It asks questions about the universe as metacinema, subjectivity, violence, feminism, monstrosity, and music. Among the contemporary films it discusses within a Deleuzian framework are Strange Days, Fight Club, and Dancer in the Dark.
Nicolas Winding Refn and the Violence of Art
Nicolas Winding Refn has emerged as a uniquely talented international filmmaker with an eye for visceral, iconic images. A 21st century mythmaker from his cult Pusher trilogy to the award-winning Drive and Only God Forgives, Refn infuses a sophisticated avant-garde sensibility with the grit of exploitation cinema. This book relates Refn's films to the ideas of Nietzsche, Canetti, Blanchot and others, and to aesthetic theory in general. It also asks why the West has become a largely artificial society, unable to generate new communal mythologies. Instructors considering this book for use in a course may request an examination copy here.
Fashioned in the North
This edited volume showcases new examples - previously untold stories of images, photographers, publications, and institutions - partly unknown outside the Nordic countries. The authors examine the reasons for and implications of this underexposure, taking on a photographic metaphor. While simultaneously challenging previously taken-for-granted ideas of the center and periphery in this field, the book also widens the study of fashion photography. Notably, the hybridity of approaches may enrich future studies of fashion photography. In Fashioned in the North, fashion photography is viewed as a transnational phenomenon and a material object, as well as a medium that is part of a media system and a result of archival systems and history writings. Furthermore, the book displays how studies of fashion photography can be so much more than stories of a few names and iconic images or studies of individual and periodic style. Indeed, the study of fashion photography may be a prism through which we can uncover cultural, social, economic, and ideological aspects of society at present and in the past.
