Tumačenje roda u filmovima Larsa von Triera: Analiza prikaza žene kroz prizmu trilogije "Depresija"

master's thesis

• Title (english): The interpretation of gender in Lars von Trier's films: The analysis of representation of woman through the lens of "Depression trilogy"
• Author: Ena Carić
• Mentor: Viktorija Car (mentor)
• Committee member: Viktorija Car (predsjednik povjerenstva)
• Committee member: Helena Popović (član povjerenstva)
• Committee member: Antonija Čuvalo (član povjerenstva)
• Granter: University of Zagreb; The Faculty of Political Science; (Department of Journalism and Media Production); Zagreb
• Defense date and country: 2016-09-19, Croatia
• Scientific / art field, discipline and subdiscipline: SOCIAL SCIENCES; Information and Communication Sciences; Journalism

Abstract

Ovaj diplomski rad rad bavi se analizom filmova Antikrist, Melankolija i Nimfomanka (Prvi i Drugi dio) Larsa von Triera u svrhu otkrivanja načina prikazivanja ženskog roda u tzv. trilogiji „Depresija“. Podvrgavanjem filmova Bechdel testu i tablici odrednica prikaza tradicionalne i postfeminističke ženstvenosti prema Stephanie Ortego Roussell, dobiveni su rezultati koji potvrđuju polazišne pretpostavke – žene nisu prikazane kroz prizmu mizoginije, već filmovi, suprotno tome, obiluju porukama feminizma, a žene su u sva tri dijela trilogije prikazane superiornima u odnosu na muškarce. Lars von Trier žene ocrtava iz vizure postfeminističkog gledišta – što samo po sebi negira mizoginiju. One su karakterno jake intelektualke, samostalne, seksualno neovisne, loše supruge i majke, a time i normativno neukalupljene u tradicionalne prikaze ženstvenosti. Dobiveni podatci ukazuju na površnost i pogrešnost tumačenja Larsa von Triera kao šovinista i dekodiranje njegovih poruka mizoginim.

Abstract (english)

This thesis contains the analysis of the films Antichrist, Melancholia and Nymphomaniac (Vol. I and Vol. II) by the Danish director Lars von Trier with the purpose of revelation of representation of female gender in so called „Depression trilogy“. By subjecting the films to Bechdel test and the table of traditional and postfeministic representation of femininity, the results were gained which confirmed the initial presumptions – women aren't represented through prism of misogyny, it is rather contrary – that messages of feminism abound in all three films and the women are displayed as superior to men. Lars von Trier outlines women from the perspective of postfeministic view – which by itself disclaims misogyny. They are of strong personages and self-contained, sexually independent, bad wives and mothers and by that alone - normatively unable to mold into the shew of traditional femininity. The data suggests that perceiving Lars von Trier as a chauvinistic and decoding his films as such is not only wrong, but plainly superficial.

• Keywords: rod; žena; ženstvenost; feminizam; film; Lars von Trier; trilogija „Depresija“
• Keywords (english): gender; woman; femininity; feminism; film; Lars von Trier; „Depression trilogy“
• Language: croatian
• URN:NBN: urn:nbn:hr:114:015420
• Study programme: Title: Journalism; Study programme type: university; Study level: graduate; Academic / professional title: magistar/magistra novinarstva (magistar/magistra novinarstva)
• Type of resource: Text
• File origin: Born digital
• Access conditions: Closed access
• Created on: 2016-11-22 11:41:49