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Edited on Mon Apr-05-04 12:58 PM by ludwigb
Especially the narrative voice by Jim Hurt--sheer genius. The movie works in the tradition of Brecht--twisting a typical bourgeois narrative into a comically absurd situation, thereby alienating and shocking the audience. The viewer should feel numb and a bit violated, as if the director betrayed you by being idiosyncratic. Or the viewer should laugh his ass off because it's funny. At the end of the expirience, the next time the one sees the sort of bourgeois plot Dogville mocks, one will be more conscious and critical of its implicit philopshical/political message.
Hence, this sort of drama serves to enlighten its audience. However, Trier takes it beyond Brecht in the sense that he is close to utter nihilism, without the promise of justice through socialism.
For me, this pedagogical effect, combined with the humorous spectacle, is the point of the film. As I see it, Dogville doesn't make a philosophical point. What it does is tear down and negate philosophical points. It is only positive in the sense that it makes you laugh. What positive philosophical content the film offers is for you to extrapolate rather than decode.
I didn't find the movie anti-American at all, actually. I didn't think the setting of the film had much significance, and the many of the ideas mocked by the film (the frequent stupidity small community utopianism, the falseness of the idea that small community can morally isolate itself from ravenous national society, the utter hollowness of the nature=virtue equation) are hardly specific to America. Von Trier's vague comments on this matter were just another ironic joke, IMO.
I don't really know about Moses.... I'll give it some thought! :)
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