This article analyzes Lars von Trier’s Dancer in the Dark (2000) through the lens of Simone Weil’s reflections on the relation between silence, rhythm, and beauty. It focuses in particular on Weil’s writings on industrial labor and on her Journal d’usine (1934-1935). Drawing on a set of selected sequences, the article advances two claims: first, von Trier builds the film around a sustained aesthetic of silence; second, this aesthetic articulates an ethics of work.
Aesthetics of Silence and Ethics of Works. Simone Weil’s Journal d’Usine and Lars von Trier’s
Manara M.
2025-01-01
Abstract
This article analyzes Lars von Trier’s Dancer in the Dark (2000) through the lens of Simone Weil’s reflections on the relation between silence, rhythm, and beauty. It focuses in particular on Weil’s writings on industrial labor and on her Journal d’usine (1934-1935). Drawing on a set of selected sequences, the article advances two claims: first, von Trier builds the film around a sustained aesthetic of silence; second, this aesthetic articulates an ethics of work.File in questo prodotto:
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