There’s No Place Like Home: From Oz to Antichrist
This article explores the dialectic of the uncanny in The Wizard of Oz (Victor Flemming, 1939) and Antichrist (Lars von Trier, 2009), treating the latter as a sequel to the former such that we encounter Dorothy first as a young girl and then as a grown woman. I observe that the uncanny entails a rep...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Published: |
2012
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| In: |
The journal of religion and film
Year: 2012, Volume: 16, Issue: 1 |
| Further subjects: | B
aesthetics of horror
B Žižek B Freud B aesthetics of pornography B Witches B The Wizard of Oz B Repression B Antichrist B uncanny B Lars von Trier |
| Online Access: |
Volltext (kostenfrei) Volltext (kostenfrei) |
| Summary: | This article explores the dialectic of the uncanny in The Wizard of Oz (Victor Flemming, 1939) and Antichrist (Lars von Trier, 2009), treating the latter as a sequel to the former such that we encounter Dorothy first as a young girl and then as a grown woman. I observe that the uncanny entails a repressive and expressive moment that is cinematically rendered in these two films, and drawing on Freud and Žižek, I argue that in Dorothy’s evolution from Oz to Antichrist we see that the witches and wizards and gods and devils of our own minds are known to us most powerfully through the uncanny aesthetics of their repression and expression. |
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| ISSN: | 1092-1311 |
| Contains: | Enthalten in: The journal of religion and film
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| Persistent identifiers: | DOI: 10.32873/uno.dc.jrf.16.01.03 |
