TY - JOUR

T1 - Att frigöra (sig från) moderns begär

T2 - om Lars von Triers Antichrist

AU - Rösing, Lilian Munk

PY - 2010/12

Y1 - 2010/12

N2 - This article is an analysis of Lars von Trier’s Antichrist (2009). In spite of the line of the female character in the film, “Freud is dead”, I argue that the film is thoroughly congenial with psychoanalysis in its opening primal scene and in its dream-like aesthetics, turning the characters into representations of one consciousness that could be seen as the little son’s. As I see the film it is as much about a son dealing with the sexuality of his parents (looking much like murder) as about a man and a woman dealing with the loss of their son. Thus the opening scene in a remarkable way transforms the primal scene, the child witnessing his parents’coïtus, into something liberating, perhaps the son’s liberation from maternal desire. Based on Lacan’s understanding of Antigone, I argue that the film is a tragedy, situated in a universe “between two deaths”. Furthermore I show the film’s universe to be the baroque and allegorical universe of a nature radically separated from God and its “anti-christianism” to reside in its depiction of nature as unredeemed as well as in its turning upside down not only the myth of Christ, but also the myth of Oedipus.

AB - This article is an analysis of Lars von Trier’s Antichrist (2009). In spite of the line of the female character in the film, “Freud is dead”, I argue that the film is thoroughly congenial with psychoanalysis in its opening primal scene and in its dream-like aesthetics, turning the characters into representations of one consciousness that could be seen as the little son’s. As I see the film it is as much about a son dealing with the sexuality of his parents (looking much like murder) as about a man and a woman dealing with the loss of their son. Thus the opening scene in a remarkable way transforms the primal scene, the child witnessing his parents’coïtus, into something liberating, perhaps the son’s liberation from maternal desire. Based on Lacan’s understanding of Antigone, I argue that the film is a tragedy, situated in a universe “between two deaths”. Furthermore I show the film’s universe to be the baroque and allegorical universe of a nature radically separated from God and its “anti-christianism” to reside in its depiction of nature as unredeemed as well as in its turning upside down not only the myth of Christ, but also the myth of Oedipus.

KW - Det Humanistiske Fakultet

KW - Lars von Trier

KW - psykoanalytisk filmanalyse

KW - Urscene

KW - dødsdrift

KW - Jacques Lacan

KW - tragedie

KW - allegori

KW - Lars von Trier

KW - Psychoanalytic film analysis

KW - primaeval scene

KW - death wish

KW - Jacques Lacan

KW - tragedy

KW - allegory

M3 - Tidsskriftartikel

SP - 69

EP - 78

JO - Divan: Tidskrift för Psykoanalys och Kultur

JF - Divan: Tidskrift för Psykoanalys och Kultur

SN - 1101-1408

IS - 3-4

ER -