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Dogme is also against the auteur status of the director, destroying the romantic myth of the unique artistic personality; for an eccentric artist like Trier, this is a rather masochist rule.
It is also part of the anti-aesthetic tendency of the movement, ignoring “any good taste and any aesthetics.” The Dogme project is not without its paradoxes: Why demand technical primitiveness from a medium so much based on technology?
Instead the “supreme goal is to force the truth out of my characters and settings” and to avoid “any good taste and any aesthetics.” The first part of the text has the typical manifesto character – an ideological proclamation where criticism, judgments, and opinions are presented with rhetorical power.
The Dogme manifesto clearly has points in common with the earlier manifestos, that in different ways have called for change, freedom and more realism. But the originality of the Dogma manifesto is that it not only comes up with the usual declarations and intentions, but that it explicitly offers a particular method of filmmaking, outlines a positive program, an alternative procedure of filmmaking, not in abstract terms but very literal.
He wanted to know when was the last time that a film manifesto of some kind had been issued. Dogme Uncut: Lars von Trier, Thomas Vinterberg, and the Gang That Took on Hollywood.
The simplicity is achieved through the use of handheld camera, the ban on artificial lighting and the proscription against later corrections of picture and sound.
Lars von Trier’s invention Dogme 95 has been celebrated by some as one of the most important events in European film history and dismissed by others as a publicity stunt.
This article recounts the history of Dogme 95 and examines its effects on Danish cinema.
The ten rules of the Vow of Chastity, mostly prohibitions, represent a therapy, a treatment, and a cure.
It equals a harsh diet: painful, perhaps, but good for you in the long run.