Musical marionettes: Sound and music in Lars von Trier's Europe trilogy

Publikation: Bidrag til tidsskriftTidsskriftartikelForskningfagfællebedømt

Standard

Musical marionettes : Sound and music in Lars von Trier's Europe trilogy. / Langkjær, Birger.

I: Studies in European Cinema, Bind 20, Nr. 1, 2023, s. 82-96.

Publikation: Bidrag til tidsskriftTidsskriftartikelForskningfagfællebedømt

Harvard

Langkjær, B 2023, 'Musical marionettes: Sound and music in Lars von Trier's Europe trilogy', Studies in European Cinema, bind 20, nr. 1, s. 82-96. https://doi.org/10.1080/17411548.2021.1978769

APA

Langkjær, B. (2023). Musical marionettes: Sound and music in Lars von Trier's Europe trilogy. Studies in European Cinema, 20(1), 82-96. https://doi.org/10.1080/17411548.2021.1978769

Vancouver

Langkjær B. Musical marionettes: Sound and music in Lars von Trier's Europe trilogy. Studies in European Cinema. 2023;20(1):82-96. https://doi.org/10.1080/17411548.2021.1978769

Author

Langkjær, Birger. / Musical marionettes : Sound and music in Lars von Trier's Europe trilogy. I: Studies in European Cinema. 2023 ; Bind 20, Nr. 1. s. 82-96.

Bibtex

@article{35d0836c58f5428fabe092ca6c20a3e7,
title = "Musical marionettes: Sound and music in Lars von Trier's Europe trilogy",
abstract = "Several contemporary film directors have created distinct auteur-signatures through their approach to music. The article analyzes how Lars von Trier has used music and sound to enhance his idiosyncratic visions from early on in his dystopian Europe-trilogy comprising The Element of Crime (1984), Epidemic (1987), and Europa (1991). These films playfully invoke film and film music stereotypes and references as part of their apocalyptic visions. They do so, however, in very different ways: The generic music mood-approach in The Element of Crime; the claim on big emotions through the use of Wagner{\textquoteright}s overture to Tannh{\"a}user in Epidemic; and an emphasis on stylistic elements rather than on character action in combination with musical salutations to film history in Europa. These various forms of music seldom provide access to characters{\textquoteright} psychology or invite emotional engagement in them. Rather, the music enhances stylistic patterns, which adds a dissonant beauty to the brutal sceneries and disconnect the male protagonists from a classical goal oriented series of actions. Trier thereby ambiguously situates his characters in a narrative of which they – despite their best intention – have no control. Instead, the protagonists finally surrender to their fate as marionettes in a musically orchestrated narrative.",
author = "Birger Langkj{\ae}r",
year = "2023",
doi = "10.1080/17411548.2021.1978769",
language = "English",
volume = "20",
pages = "82--96",
journal = "Studies in European Cinema",
issn = "1741-1548",
publisher = "Routledge",
number = "1",

}

RIS

TY - JOUR

T1 - Musical marionettes

T2 - Sound and music in Lars von Trier's Europe trilogy

AU - Langkjær, Birger

PY - 2023

Y1 - 2023

N2 - Several contemporary film directors have created distinct auteur-signatures through their approach to music. The article analyzes how Lars von Trier has used music and sound to enhance his idiosyncratic visions from early on in his dystopian Europe-trilogy comprising The Element of Crime (1984), Epidemic (1987), and Europa (1991). These films playfully invoke film and film music stereotypes and references as part of their apocalyptic visions. They do so, however, in very different ways: The generic music mood-approach in The Element of Crime; the claim on big emotions through the use of Wagner’s overture to Tannhäuser in Epidemic; and an emphasis on stylistic elements rather than on character action in combination with musical salutations to film history in Europa. These various forms of music seldom provide access to characters’ psychology or invite emotional engagement in them. Rather, the music enhances stylistic patterns, which adds a dissonant beauty to the brutal sceneries and disconnect the male protagonists from a classical goal oriented series of actions. Trier thereby ambiguously situates his characters in a narrative of which they – despite their best intention – have no control. Instead, the protagonists finally surrender to their fate as marionettes in a musically orchestrated narrative.

AB - Several contemporary film directors have created distinct auteur-signatures through their approach to music. The article analyzes how Lars von Trier has used music and sound to enhance his idiosyncratic visions from early on in his dystopian Europe-trilogy comprising The Element of Crime (1984), Epidemic (1987), and Europa (1991). These films playfully invoke film and film music stereotypes and references as part of their apocalyptic visions. They do so, however, in very different ways: The generic music mood-approach in The Element of Crime; the claim on big emotions through the use of Wagner’s overture to Tannhäuser in Epidemic; and an emphasis on stylistic elements rather than on character action in combination with musical salutations to film history in Europa. These various forms of music seldom provide access to characters’ psychology or invite emotional engagement in them. Rather, the music enhances stylistic patterns, which adds a dissonant beauty to the brutal sceneries and disconnect the male protagonists from a classical goal oriented series of actions. Trier thereby ambiguously situates his characters in a narrative of which they – despite their best intention – have no control. Instead, the protagonists finally surrender to their fate as marionettes in a musically orchestrated narrative.

U2 - 10.1080/17411548.2021.1978769

DO - 10.1080/17411548.2021.1978769

M3 - Journal article

VL - 20

SP - 82

EP - 96

JO - Studies in European Cinema

JF - Studies in European Cinema

SN - 1741-1548

IS - 1

ER -

ID: 367297027