October 12th, 2017
Analysis of Lars von Trier’s “Dogville” Lars Von Trier's film “Dogville” is an interesting European spin on how America is viewed. Produced in 2003, performed by an almost all-American cast, written by a Danish director, “Dogville” becomes not only a film about how Europeans might see America; but how the audience can interpret what Trier is presenting to them. “Dogville,” is often viewed and critiqued by many as a cynical spin on how the United States is perceived. After all, this film is one of the easiest ways to see how a director can use the many Brechtian techniques to keep the audience from being absorbed in the film.
Trier places his actors within what the audience can observe to be a small town. He carefully lays out a map of buildings and other areas on the floor of a huge, undecorated studio. The audience when introduced to Dogville are able to see a bird’s eye view of what the town looks like. The furniture and props are real, but there are no walls to obscure activities within each defined area; only solid chalk lines separating what is a house, or a garden, or a town hall. Consequently, the audience can see anything and everything that is happening all over the town; they may see a character tending to their garden in the background while the camera is focused on other characters.
For most viewers, myself included for the first time through, "Dogville" is an oddly presented film that may be