{"id":2581,"date":"2023-02-15T23:24:48","date_gmt":"2023-02-15T22:24:48","guid":{"rendered":"https:\/\/ctalker.org\/?p=2581"},"modified":"2023-02-15T23:24:50","modified_gmt":"2023-02-15T22:24:50","slug":"kurbli-filmklub-lars-von-trier-europa","status":"publish","type":"post","link":"https:\/\/ctalker.org\/en\/2023\/02\/15\/kurbli-filmklub-lars-von-trier-europa\/","title":{"rendered":"Kurbli Filmklub: Lars Von Trier-Eur\u00f3pa"},"content":{"rendered":"\n

Szabadka\/2023.02.07.<\/p>\n\n\n\n

Lars Von Trier: Eur\u00f3pa (Europa), 1991, d\u00e1n t\u00f6rt\u00e9nelmi filmdr\u00e1ma, 107 perc<\/p>\n\n\n\n

A D\u00e1n sz\u00e1rmaz\u00e1s\u00fa Lars von Trier az eur\u00f3pai kort\u00e1rs film egyik legnagyobb hat\u00e1s\u00fa m\u0171v\u00e9sze. Tabukat k\u00f6nnyed\u00e9n fels\u00e9rt\u0151, provokat\u00edv filmjeivel \u00e9s fant\u00e1ziad\u00fas, b\u00e1tor k\u00e9palkot\u00e1s\u00e1val \u00faj megvil\u00e1g\u00edt\u00e1sba helyezte az eur\u00f3pais\u00e1gr\u00f3l \u00e9s a filmm\u0171v\u00e9szet \u00f3vatoskod\u00f3 etik\u00e1j\u00e1r\u00f3l sz\u00f3l\u00f3, egyre jobban ellaposod\u00f3 diskurzusokat<\/p>\n\n\n\n

M\u00e1r 1982-es \u00e9retts\u00e9gi filmje \u2013\u00a0Images of Relief<\/em>\u00a0(Befrielsesbilleder) \u2013 ut\u00e1n a n\u00e1cizmus romantiz\u00e1l\u00e1s\u00e1val illett\u00e9k kritikusai.\u00a0Eur\u00f3pa<\/strong>\u00a0eddigi legkomolyabb, n\u00e1cizmusban kics\u00facsosod\u00f3 traum\u00e1ja \u00e9s az err\u0151l foly\u00f3 elm\u00e9lked\u00e9sek, a saj\u00e1t, fajs\u00falyos v\u00e9lem\u00e9ny\u00e9t kifejezni v\u00e1gy\u00f3 Triert, teh\u00e1t m\u00e1r eredend\u0151en izgatt\u00e1k:\u00a0\u00c9n szem\u00e9ly szerint a n\u00e1cizmust \u00e9s a m\u00e1sodik vil\u00e1gh\u00e1bor\u00fat is kult\u00far\u00e1nk r\u00e9sz\u00e9nek tekintem, \u00e9s a kult\u00far\u00e1n bel\u00fcli f\u0151 mozgat\u00f3rug\u00f3k logikus fejl\u0151d\u00e9s\u00e9nek.<\/em><\/p>\n\n\n\n

A nyolcvanas-kilencvenes \u00e9vek k\u00eds\u00e9rletez\u0151bb kedv\u0171, szerz\u0151i stiliz\u00e1lts\u00e1g\u00fa b\u00e1tor alkot\u00e1sai k\u00f6z\u00e9 tartozik az\u00a0Eur\u00f3pa\u00a0<\/strong>is. A Tarkovszkij filmek elk\u00f6telezett rajong\u00f3ja, Lars von Trier apokaliptikus eur\u00f3pai t\u00e1jakat technik\u00e1san \u00e1br\u00e1zol\u00f3 tril\u00f3gi\u00e1j\u00e1nak befejez\u0151 r\u00e9sze, leny\u0171g\u00f6z\u0151 \u00e9s komplex k\u00e9palkot\u00f3 eszt\u00e9tik\u00e1val, magas m\u0171v\u00e9szi sz\u00ednvonalon elmes\u00e9lt, roppantul zavarba ejt\u0151 t\u00f6rt\u00e9net, ami hamar kultuszfilmm\u00e9 v\u00e1lt. Thompson \u00e9s Bordwell \u00edgy \u00edr a filmr\u0151l:\u00a0Nyugtalan\u00edt\u00f3 t\u00e1jak lebegnek t\u00f6rt\u00e9nelem \u00e9s \u00e1lom k\u00f6z\u00f6tt.<\/em><\/p>\n\n\n

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Az empirikus szeml\u00e9let\u0171 k\u00e9palkot\u00f3 Trier fesz\u00fclt temp\u00f3j\u00fa, sz\u00f6vev\u00e9nyes t\u00f6rt\u00e9net\u00e9ben a f\u00e1jdalomt\u00f3l \u00e9s szenved\u00e9st\u0151l k\u00e1bulatba r\u00e9ved\u0151, a teljes lefejez\u00e9s el\u0151tti N\u00e9metorsz\u00e1g, \u201enulladik \u00f3r\u00e1j\u00e1nak\u201d els\u0151 perceiben j\u00e1runk, k\u00f6zvetlen\u00fcl a m\u00e1sodik vil\u00e1g\u00e9g\u00e9st k\u00f6vet\u0151, alapvet\u0151en felfoghatatlan \u00e9s ez\u00e9rt kifejezhetetlen \u00e1llapot\u00fa \u00e9s l\u00e9gk\u00f6r\u0171, 1945 okt\u00f3bere \u00e9s kar\u00e1csonya k\u00f6z\u00f6tt. Ebben a Trier \u00e1ltal bekeretezett m\u00e1gikus realizmusban a hipnotikus \u00e9s expressz\u00edv, r\u00e9m\u00e1lomszer\u0171 atmoszf\u00e9r\u00e1t al\u00e1t\u00e1masztj\u00e1k a torz\u00edtott l\u00e1tv\u00e1ny, szuperpl\u00e1nok, t\u00f6bbsz\u00f6r\u00f6sen expon\u00e1lt k\u00e9pek, a lend\u00fcletes kameramozgat\u00e1s \u00e9s kivet\u00edtett h\u00e1tterek beemel\u00e9se. A sz\u00ednes \u00e9s fekete feh\u00e9r k\u00e9pek kevered\u00e9se sz\u00fcrre\u00e1lis elbesz\u00e9l\u00e9sm\u00f3dban, filmm\u0171v\u00e9szeti \u00e9s m\u0171v\u00e9szett\u00f6rt\u00e9neti \u00e1thall\u00e1sok, a t\u00f6bb nyelven megsz\u00f3lal\u00f3 hangs\u00e1v \u00e9s az al\u00e1fest\u0151 zene. A mindentud\u00f3 narr\u00e1tor (Max von Sydow) hangja a j\u00f3sz\u00e1nd\u00e9k\u00fa, tettre k\u00e9sz, idealista, romantikus \u00e9s pacifista f\u0151h\u0151ssel val\u00f3 n\u00e9z\u0151i azonosul\u00e1sunk ut\u00e1n, minket is hipnotiz\u00e1l. De az\u00a0Eur\u00f3p\u00e1<\/strong>t szimboliz\u00e1l\u00f3 vas\u00fat kattog\u00f3 s\u00ednp\u00e1rjainak elhagy\u00e1s\u00e1ra nincs m\u00f3d. Trier n\u00e9z\u0151k fel\u00e9 int\u00e9zett tov\u00e1bbi egzisztencialista provok\u00e1ci\u00f3ja: vajon a mindny\u00e1junkban traumatiz\u00e1l\u00f3dott 20. sz\u00e1zadi\u00a0Eur\u00f3pa<\/strong>\u00a0b\u00f3dulat\u00e1b\u00f3l lehets\u00e9ges-e a fel\u00e9bred\u00e9s?<\/p>\n\n\n\n

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\"\"<\/figure>\n<\/figure>\n","protected":false},"excerpt":{"rendered":"

Szabadka\/2023.02.07. Lars Von Trier: Eur\u00f3pa (Europa), 1991, d\u00e1n t\u00f6rt\u00e9nelmi filmdr\u00e1ma, 107 perc A D\u00e1n sz\u00e1rmaz\u00e1s\u00fa Lars von Trier az eur\u00f3pai kort\u00e1rs film egyik legnagyobb hat\u00e1s\u00fa m\u0171v\u00e9sze. Tabukat k\u00f6nnyed\u00e9n fels\u00e9rt\u0151, provokat\u00edv filmjeivel \u00e9s fant\u00e1ziad\u00fas, b\u00e1tor...<\/p>\n","protected":false},"author":3,"featured_media":2586,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","_themeisle_gutenberg_block_has_review":false,"footnotes":""},"categories":[8,9],"tags":[],"class_list":["post-2581","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kurbli","category-kurbli-filmklub"],"featured_image_src":"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:auto\/h:auto\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2023\/02\/329281162_1170527457161777_5141573169600081605_n.jpg","featured_image_src_square":"https:\/\/mladjxeqsxgv.i.optimole.com\/cb:B3zE.b136\/w:auto\/h:auto\/q:mauto\/f:best\/https:\/\/ctalker.org\/wp-content\/uploads\/2023\/02\/329281162_1170527457161777_5141573169600081605_n.jpg","author_info":{"display_name":"Kari","author_link":"https:\/\/ctalker.org\/en\/author\/karina\/"},"_links":{"self":[{"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/posts\/2581","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/comments?post=2581"}],"version-history":[{"count":1,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/posts\/2581\/revisions"}],"predecessor-version":[{"id":2587,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/posts\/2581\/revisions\/2587"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/media\/2586"}],"wp:attachment":[{"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/media?parent=2581"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/categories?post=2581"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ctalker.org\/en\/wp-json\/wp\/v2\/tags?post=2581"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}