Кино Ларса фон Триера. Пророческий голос - Ребекка Вер Стратен-МакСпарран

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Глава 5. «Антихрист». Потерянный рай: наша способность творить зло

Анализировать зло – значит, в конечном счете определять добро.

(Скотт Дерриксон, сценарист/режиссер, «Восставший из ада 5: Преисподняя» (2000), «Шесть демонов Эмили Роуз» (2005), «Синистер» (2012), «Доктор Стрэндж» (2016)) (Overstreet, 2007, с. 279)

В предыдущих главах подробно рассматривалось творчество Ларса фон Триера, а также его связь с пророчеством и пророческим голосом Иезекииля. В них были проанализированы эстетические стратегии повествований фильмов, символы зла и пророческие темы (глава 3) и/или эстетическое воплощение фильмов через миф и визуальные, звуковые и стилистические символы (глава 4). Это было сделано, чтобы показать, как эстетическая стратегия фильмов воплощает пророческий голос и как духовный конфликт воплощается в виде механизма, раскрывающего их эксцессы [1]. В этой главе представлен подробный анализ фильма «Антихрист», опирающийся на все