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Sculpting Time
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This chapter moves from narrative structure to a broader discussion of ‘what cinema is’, focusing on The Worst Person in the World in particular. Ideas about time – past, present, and future – are central to Trier’s films and closely related to the very idea of cinema as a time-based art form. The chapter provides a close study of the chapter ‘Bad Timing’ and the innovative use of ‘frozen image’ in The Worst Person in the World, in order to discuss how time is, in fact, captured in Trier’s films.
Title: Sculpting Time
Description:
This chapter moves from narrative structure to a broader discussion of ‘what cinema is’, focusing on The Worst Person in the World in particular.
Ideas about time – past, present, and future – are central to Trier’s films and closely related to the very idea of cinema as a time-based art form.
The chapter provides a close study of the chapter ‘Bad Timing’ and the innovative use of ‘frozen image’ in The Worst Person in the World, in order to discuss how time is, in fact, captured in Trier’s films.
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