CHAOS"HEALS"
A"Nietzschean"Approach"to"Lars"von"Trier’s"Antichrist"
"
"
ABSTRACT"
" This"study"is"an"initial"attempt"to"investigate"the"relationship"between"Lars"von"Trier’s"Antichrist"and" some"aspects"of"Friedrich"Nietzsche’s"philosophy."This"thesis"analyses"the"film"in"the"context"of" Nietzsche’s"view"on"morality,"anthropomorphism,"and"dualism." """In"the"first"chapter,"Nietzsche’s"philosophy"of"morality"with"ancient"Greek"influences"is"presented." These"ideas"provide"the"incentive"to"present"a"different"interpretation"of"Antichrist."The"thesis"then" proceeds"to"focus"on"two"aspects"within"morality;"anthropomorphism"in"chapter"two,"and"dualism"in" chapter"three."These"chapters"further"outline"and"confirm"the"influence"of"anthropomorphic"and" dualistic"approaches"on"Antichrist"and"the"opportunity"to"overcome"anthropomorphism"and"dualism. """Data"for"this"study"was"primarily"obtained"from"the"literature"study"of"Nietzsche’s"work,"and"the" textual"and"visual"study"of"Antichrist. """The"results"provide"support"for"an"alternative"approach"to"Lars"von"Trier’s"Antichrist,"and"a" concretization"of"Nietzsche’s"philosophy."With"this"approach,"Antichrist"defines"a"Nietzschean"insight" about"human"existence"where"philosophy"functions"as"film"and"film"as"philosophy. " " " " " " " " "ACKNOWLEDGEMENT"
I"would"like"to"express"my"sincere"gratitude"and"respect"to"my"supervisor"Abe"Geil,"and"to"thank"him" for"the"useful"motivation"and"engagement"throughout"the"process"of"this"master"thesis."This"project" would"not"have"been"possible"without"his"constant"guidance"and"encouragement."I"would"also"like"to" thank"Brinn"Hekkelman"for"grammar"checking"this"thesis."Finally,"I"would"like"to"thank"my"family"for" their"continual"support"and"my"lover"Peter"Kapritsias"for"the"cover"illustration"and"his"faith"in"me."""
CHAOS&HEALS&
A&Nietzschean&Approach&to&Lars&von&Trier’s&Antichrist&
&
&
CONTENTS&
&
Introduction& & & & & & & & & & & 2&
&
Chapter&1:&MORALITY& & & & & & & & & & 8&
1.1 Nietzsche’s&morality& & & & & & & & & 8&
1.2 Ambiguous&morality&in&the&film&art&of&Antichrist) ) ) ) ) ) 14&
&
Chapter&2:&ANTHROPOMORPHISM&& & & & & & & & 25&
&&&2.1&Nietzsche’s&anthropomorphism& & & & & & & & 25&
&&&2.2&Visualized&anthropomorphism&in&Antichrist)) ) ) ) ) ) 31&
&&&2.3&Cranach&and&Greek&mythology&in&Antichrist)) ) ) ) ) ) 33&
&&&2.4&Nature&and&animals&as&cure& & & & & & & & 36& &
Chapter&3:&DUALISM& & & & & & & & & & 39&
&&&3.1&Nietzsche’s&dualism& & & & & & & & & 39&
&&&3.2&Christ&as&ultimate&Christian&reading&of&Antichrist) ) ) ) ) ) 41& &&&3.3&The&Nietzschean&body&and&soul&in&Antichrist) & & & & & 42& &
Conclusion& & & & & & & & & & & 47&
References& & & & & & & & & & & 50&
INTRODUCTION
Lars&von&Trier&is&a&challenging&Danish&director&of&great&influence&on&the&art&of&cinema&in&the&West.& Lars&von&Trier&has&won&some&of&the&major&prizes&at&the&Cannes&Film&Festival,&and&was&later& controversially&kicked&out&of&the&same&festival&while&presenting&his&film&Melancholia.&During&the&press& conference,&the&director&shocked&everybody&by&saying&he&could&sympathize&with&Hitler&on&a&certain& level.&On&the&one&hand,&von&Trier&is&a&praised&director,&while&on&the&other&hand,&he&is&a&bold&director& taking&major&risks&and&challenging&the&audience;&both&with&his&films&and&his&public&appearance.&Von& Trier&is&provocative,&unpredictable,&and&visionary,&which&lead&him&to&challenge&conventional& limitations&and&to&provoke&and&insult&the&audience&(Badley&2). &&&The&insults&and&provocations&are&mostly&concentrated&on&gender&perspectives,&with&von&Trier’s&films& often&being&interpreted&as&a&violation&against&women.&With&the&recurring&theme&of&suffering&women& in&most&of&von&Trier’s&films,&he&is&reputed&to&be&a&misogynist&who&represents&his&female&characters&in& sexist&clichés&(Badley&2).&This&accusation&derives&from&the&tendency&of&film&critics&and&the&public.&They& often&focus&on&gender,&psychoanalysis,&violence,&Jewish&and&Christian¬ions&of&suffering,&and&the& destructive&relationship&between&man&and&woman&to&understand&von&Trier’s&films.&To&extend&this& interpretation&further,&there&is&a&focus&on&von&Trier’s&personal&life,&in&addition&to&these&themes.&His& personal&life,&as&well&as&his&public&appearance,&are&triggers&for&the&mysterious&and&therapeutic& interpretations&of&von&Trier’s&films.&Von&Trier&has&a&great&fascination&with&madness&and&disease&and& he&had&to&deal&with&a&father&who&seems&to¬&be&his&biological&father.&Furthermore,&von&Trier&had& major&depressions&and,&in&his&own&words,&all&his&films&were&written&in&a&state&of&intoxication: Who&the&hell&cares&about&Rolling&Stones&when&you&don’t&have&a&sense&that&they’ve&just& emptied&a&bottle&of&Jack&Daniels?&That’s&nonsense.&Or&Jimi&Hendrix&without&heroin&or&whatever& he&was&on.&That’s&rubbish;&we&can’t&be&bothered&with&that.&We&don’t&want&that,&because&we& want&their&special&approach&through&something&mysterious,&which&is&still&somehow&connected& to&various&intoxicants,&right?&But&when&I&work,&I’ll&miss&the&intoxication,&or&rather,&I&may&come& to&miss&it.&That’s&the&point.&I&think&it’s&really&dreary&to&try&to&be&sober.&But&I&am&(Thorsen). Those&are&recent&words&of&von&Trier&after&a&media&silence&of&nearly&three&years.&The&words&indirectly& describe&a&way&of&thinking&about&film&art;&to&make&an&influential&and&provocative&film&it&is&necessary& to&achieve&a&state&of&mind&in&which&you&can&create&a&world&that&is&true&to&your&own&perception&of& reality.&Von&Trier’s&alcohol&addiction,&in&combination&with&his&public&outing&of&his&depressive&disorder,& is&often&cited&to&rationalize&his&behavior&and&film&art&as&being&influenced&through&emotional&states& and&behavior&that&are&typical&for&a&major&depressive&disorder;&examples&of&expressions&can&be& pessimistic&thoughts,&disturbed&sleep,&ideas&of&self&harm,&and&refusing&to&talk&or&communicate1.!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
1!
These&depressive&episode&criteria&are&being&used&within&DSMdIV.&CHAOS&HEALS& & INTRODUCTION&
!
Interest&in&all&these&emotional&states&and&events&that&occurred&in&von&Trier’s&personal&life&is¬&only& used&to&interpret&his&films&and&recognize&his&influence&within&film&history;&it&is&also&a&great&device&for& authorizing&his&focus&in&the&returning&themes&of&his&films.&The&analysis&of&these&returning&themes& facilitates&general&approaches&concerning&the&genres&of&his&films.&Questions&of&genre®arding&film& are¬&unproblematic,&and&film&theory&struggles&with&the&question&of&what&we&are&to&understand&by& this&term&(Bainbridge&103).&Nevertheless,&with&von&Trier’s&personal&and&public&appearance,& melodramatic&tensions&are&fully&accepted&as&typical&for&his&films.&Regarding&the&genre&of&melodrama,& von&Trier’s&films&would&be&received&as&films&with&melodramatic&tensions&such&as&the&associations&with& soap&opera&and&with&‘the&woman’s&film’.&The&focus&on&women&is&first&claimed&with&his&‘Gold&Heart’& trilogy,&also&called&the&‘feminine’&trilogy,&consisting&of&Breaking)the)Waves,)The)Idiots,&and&Dancer)in) the)Dark.&With&these&three&films&von&Trier&seeks&out&a&new&form&of&narrative&structure&where&the& melodrama&is&the¢er&of&the&trilogy&(Bainbridge&103). &&&In&von&Trier’s&later&work,&the&influence&of&the&melodrama&is&also&found&in&his&‘depression&trilogy’.& The&trilogy&takes&its&name&from&the&prolonged&period&of&depression&von&Trier&was&going&through& while&working&on&the&first&film.&This&first&film&in&the&‘depression&trilogy’&would&be&Antichrist,&followed& by&Melancholia,&and&Nymphomaniac.&Von&Trier’s&depression&was&underlined&to&such&an&extent&that& his&melancholic&state&of&mind&influenced&the&reception&of&Antichrist.&The&reception&was&also&based&on& the¶llels&with&his&earlier&work,&especially&concerning&the&structure&of&this&first&film&in&his& ‘depression&trilogy’.&Antichrist&is,&like&Breaking)the)Waves,&structured&rather&novelistic&into&four& chapters,&a&prologue,&and&an&epilogue;&each&prefaced&by&an&interdtitle.&This&novelistic&structure&is&tied& to&the&origins&of&melodrama&in&the&Romantic&period&(Bainbridge&108).&For&the&art&of&melodrama,&the& visual&environment,&acting&style,&and&lighting&had&to&express&dramatic&content&appropriately&(Brown& 300).&In&Antichrist,&these&ideas&for&melodramatic&visualization&are&fully&managed&by&von&Trier.&The& Danish&director&concentrates&on&high&contrast&captivating&environment&shots&with&special&interest&for& the&forest.&The&forest,&with&its&ancient&connotation&of&danger,&the&unknown,&and&the&mysterious,&was& the&visual&means&to&encapsulate&the&whole&genre&of&melodrama&(Brown&301). &&&In&Antichrist,&the&forest&is&inseparably&connected&with&the&physical&and&emotional&states&of&the&main& characters.&The&main&characters&of&Antichrist,&portrayed&by&Willem&Dafoe&and&Charlotte&Gainsbourg,& have&no&names&in&the&film,&so&that&the&identity&of&the&characters&remains&open&to&interpretation.& While&the&nameless&couple&is&having&sex,&their&infant&son&falls&out&the&window&to&his&death.&After&this& prologue&it&is&expectable&Antichrist&would&be&a&story&about&emotions&concerning&the&process&of& mourning.&Nonetheless,&after&the&death&of&her&child,&‘She’&becomes&distraught&while&‘He’&tries&to&help& her&by&imposing&himself&as&her&therapist.&Convinced&of&his&capability&to&cure&her,&‘He’&takes&her&to&the& woods&of&Eden;&her&biggest&fear,&where&nature&represents&Satan’s&church&to&her.&Nevertheless,&‘She’&destruction&are&catalysts&for&questions&about&morality&and&the&relationship&between&good&and&evil& that&could&be&the&key&for&plot&developments. &&&The&plot&development&and&the&alternative&film&structure&of&Antichrist&provide&a&new&film&style;&with& Antichrist,&von&Trier&blended&both&his&early&and&late&styles&and&themes&(Badley&144).&Von&Trier’s&early& style&has&its&roots&in&German&Expressionism&and&film&noir,&where&the&influences&of&these&movements& are&seen&in&von&Trier’s&films&in&terms&of&aesthetics&and&thematic&components&(Bainbridge&26).& Another&important&aspect&of&von&Trier’s&style&originated&in&1995,&when&von&Trier&made&his&own&film& making&rules&together&with&Thomas&Vinterberg;&these&Dogme&95&rules&established&a&basis&for&a&new& pure&way&of&film&making.&The&principles&of&this&new&film&making&approach&were&concentrated&on& hand&held&camera&movements,&directly&recorded&sound,&shooting&in&color,&and&that&the&film&could¬& include&homicides&(Bordwell&713).&Antichrist&contains&some&of&these&principles;&nevertheless&this&film& was&absolutely&no&Dogme&film&anymore.&Antichrist&recalls&von&Trier’s&early&film&The)Element)of)Crime,& shot&before&the&Dogme&95&rules,&where&his&focus&lies&on&high&contrast&yellow&and&red,&combined&with& a&nightmarish&environment.&In&addition,&the&blackdanddwhite&image&of&Epidemic&from&1987&with&its& focus&on&the&supernatural,&knowledge,&and&power&recurs&in&Antichrist.)The&focus&on&these&aspects&is& an&indication&of&von&Trier’s&many&and&varied&influences. &&&The&influences&on&von&Trier’s&film&art&derive&mostly&from&great&directors,&philosophers&and& composers.&Von&Trier&described&the&style&of&Antichrist&as&based&on&films&of&other&directors&such&as& Dreyer,&Bergman,&and&Tarkovsky.&Apart&from&great&directors,&also&great&philosophers&and&composers& such&as&Friedrich&Nietzsche&and&Richard&Wagner&inspired&Von&Trier.&Bainbridge&already¬ed&the& relationship&between&Wagner,&Nietzsche,&and&Von&Trier&in&her&book&The)Cinema)of)Lars)Von)Trier,& where&she&explains&that&“Wagner,&of&course,&was&a&friend&and&mentor&to&Friedrich&Nietzsche,&whose& philosophy&has&also&had&some&influence&on&von&Trier”&(4).&Von&Trier&admired&the&work&of&Wagner;& during&the&making&of&Dogville,&von&Trier&was&also&working&on&the&production&of&Wagner’s&Ring&for& which&he&made&a&minimalist&principle&of&stage&design&(Badley&104).&This&abandoned&work&was&an& inspiration&for&Antichrist&and&von&Trier&refers&to&Wagner&in&the&prologue&of&Melancholia&where&the& director&uses&the&music&from&Wagner’s&Tristan)and)Isolde.& &&&The&affection&for&Wagner&was&an&inspiration&for&both&von&Trier&and&Nietzsche.&Friedrich&Nietzsche& (1844d1900)&was¬&a&philosopher&who&was&seen&as&a&philosopher&from&the&beginning;&he&is&actually& a&nondphilosopher.&In&his&work,&Nietzsche&puts&forward&philosophical&questions&without&an&answer;& he&would&rather&ask&questions&about&why&people&hold&on&to&a&certain&truth&instead&of&answering&or& giving&a&truth.&Nietzsche&never&proclaims&morality&and&he&never&pronounces&anything&about&beauty.& A&key&concern&for&Nietzsche&in&his&philosophical&writings&was&the&question&of&morality&and&the& relationship&between&good&and&evil&(Bainbridge&4).&Nietzsche’s&view&on&morality&would&be&a&view&on&a& Nietzschean&level;&his&view&is&a&perspective&beyond&the&existing&Western&morality&approach&and&has&a&
CHAOS&HEALS& & INTRODUCTION&
!
major&aversion&against&Christianity.&Nietzsche’s&first¬ions&about&morality&arose&with&the&Ring&of& Wagner;&Nietzsche&made&a&distinction&between&two&perspectives&on&morality.&The&first&perspective& on&morality&is&a&morality&that&is&based&on&social&and&traditional&positions,&and&the&second&perspective& is&a&morality&that&dealt&with&the&individual&terms;&this&last&approach&is&the&essential&kind&of&morality& for&Nietzsche.&The&morality&that&focused&on&individual&terms&introduced&Nietzsche’s&concept&of&the& übermensch;&a&concept&that&described&a&type&of&person&that&has&transcended&the&weakness&of&an& ordinary&person.&This&transcendence&could&be&reached&with&an&ecstatic&lifestyle,&also&known&as&the& Dionysian&affirmation&of&the&will&to&live.& &&&The&use&of&the&Greek&god&Dionysus&in&Nietzsche’s&claim&about&morality&implies&Nietzsche’s& idolization&of&Greek&mythology,&art,&and&tragedy.&Wagner&combined&music&where&themes&from& ancient&Greece&were&represented.&Nietzsche’s&affection&for&Wagner,&until&Parsifal,&is&because&of&the& strength&of&the&human&without&God’s&power.&Wagner’s&Ring)das)Nibelungen&was&the&foundation&for& Nietzsche’s&new&philosophical&idea&of&the&will&to&power.&Wagner&considered&any&form&of&power&to&be& rejected.&Almost&all&the&main&characters&in&Wagner’s&work&lost&themselves&in&an&uncontrollable&desire& to&power&that&always&ended&tragically. &&&Wagner’s&influence&on&Nietzsche&exemplifies&Nietzsche’s&major&fascination&with&art.&In&Nietzsche’s& view,&art&is&the&most&valuable&activity&of&human&beings,&and&with&Nietzsche’s&work&art&became& significant&in&life;&art&raises,&supports,&asserts,&and&approves&life.&Art&is&the&objectification&of&existence& where&art&has&the&role&of&an&expression&for&the&Nietzschean&concept&of&the&will&to&power.&For& Nietzsche,&the&will&itself&is&mainly&expressed&in&music.&Because&of&the&possibility&to&express&the&will& itself,&art&is&the&purpose&of&life.&Art&gives&the&opportunity&to&justify&the&world&without&morality&or& rationality.&Art,&and¬&morality,&is&the&true&metaphysical&activity&of&man&(Nietzsche,&Birth)of)Tragedy& par.&5).&Nietzsche&represents&art&as&the&bridge&between&a&human&being&and&the&übermensch.&Art&can& be&the&bridge&to&overcome&morality,&and&to&overcome&morality&other&aspects&and&dominant&Western& ideas&such&as&anthropomorphism&and&dualism&must&also&be&conquered.&& &&&These&specific&ideas&of&Nietzsche&are&redplayed&in&a&certain&way&within&von&Trier’s&work&and&are&seen& especially&in&the&moral&fables&that&underpin&it&(Bainbridge&4).&The&concepts&of&morality,& anthropomorphism&and&dualism&are&the&heart&of&the&narrative&and&aesthetic&film&art&in&Antichrist.&The& title&Antichrist&suggests&that&the&film&revolves&around&Christianity&and&the&resistance&against&this& religion.&In&some&respects,&this&title&is&misleading&because&there&is&much&more&to&be&found&besides& the&interpretation&within&the&context&of&Christianity.&Certainly,&the&existence&of&Christianity&cannot&be& denied,&simply&because&without&this&conviction&there&would&be&no&counter&reaction&from&Nietzsche.& Christian&terms,&such&as&Satan,&are&present&in&reference&to&the&textuality&of&the&film,&as&well&as&in& gender&issues.&However,&the&textuality&and&the&filmic&form&of&Antichrist)illustrates&that&Antichrist&gender&is¬&a&strict&separation&between&man&and&woman,&but&rather&a&distinction&between&man&and& woman&that&is&merely&natural.&This&omittance&of&the&gender&issue&can&be&the&basis&for&a&thesis&on& Nietzsche’s&philosophy&in&Antichrist. &&&In&my&perception,&when&there&is&less&focus&on&this&general&approach&to&Antichrist,&the&film& concentrates&on&Nietzschean&aspects&like&morality,&dualism,&and&anthropomorphism&and&Nietzsche’s& interest&in&ancient&Greece.&In&the&same&way&that&Christianity&has&to&exist&before&there&can&be&a& counter&reaction,&all&these&themes&of&morality,&dualism,&and&anthropomorphism&had&also&been& defined&and&had&emerged&before&they&were&criticized.&For&Nietzsche,&morality&is&the&beginning&of&the& end&and&is&opposed&to&life;&Nietzsche’s&instinct,&while&writing&Birth)of)Tragedy,&turned&itself&against& morality&as&an&instinctual&affirmation&of&life,&and&a&fundamentally&different&doctrine,&a&totally& opposite&way&of&evaluating&life,&something&purely&artistic&and&antidChristian&(par.&5). &&&A&different&way&of&approaching&morality&shall&result&in&a&different&reading&of&von&Trier’s&Antichrist.& My&thesis&includes&an&exposition&of&some&aspects&of&Nietzsche’s&philosophy,&and&the&way&film&is& capable&of&showing&these&ideas&through&its&possibility&to&make&abstract&concepts&more&visible&and& concrete.&Film&is&able&to&show&perspectives&on&philosophical&questions,&and&the&medium&can&lead&to& new&insights®arding&the&nature&of&reality&and&human&existence.&At&the&same&time,&film&can&also& confound&through&its&images,&stories,&and&content.&For&these&reasons,&Antichrist&shows&a&different,& perhaps&Nietzschean,&perspective&of&life&while&at&the&same&time&the&film&raises&emotional&and& confusing&feelings.&The&interaction&between&philosophy&and&art&becomes&the&vision&of&Nietzsche;&his& work&blurred&the&division&between&philosophy&and&art.&Philosophy&became&a&kind&of&art&and&vice& versa.&The&blending&of&philosophy&and&art&is&a&consequence&of&the&mixed&structure&that&both&von&Trier& and&Nietzsche&use;&both&Nietzsche&and&von&Trier&are&‘playing’&with&the&conventions&of&their& disciplines.&Both&are&using&the&same&discipline&to&demonstrate&this&deviation;&Nietzsche&and&von&Trier& use&literary&titles&and&constructions&to&bench&their&work.&The&titles&of&Nietzsche’s&books&are&a&great& example&of&this&literary&influence&and&assume&a&different&kind&of&philosophy&than&all&other&written& philosophy.&A&different&kind&of&film&art&is&also&seen&in&the&novelistic&structure&in&von&Trier’s&films.& &&&With&my&thesis&I&will&try&to&illustrate&Nietzsche’s&philosophy&by&analyzing&Antichrist,&without& claiming&the&existence&of&a&form&of&truth.&I&will¬&pretend&to&provide&a&final&interpretation&of&the& philosophical&message&that&would&contain&or&be&contained&in&Antichrist,&the&sodcalled&moral&of&the& story.&The&main&focus&while&writing&my&thesis&was&on&the&textual&and&filmic&form&concerning& Antichrist&with&respect&to&Nietzsche’s&philosophy.&In&the&first&chapter,&about&morality,&I&will&outline& the&ideas&and&philosophy&of&Nietzsche&on&morality&with&emphasis&on&morality&based&on&Dionysus,&as& the&Antichrist,&and&Apollo.&With&many&references&to&Nietzsche&on&an&abstract,&visual,&and&symbolic& manner,&I&will&provide&some&examples;&both&based&on&specific&scenes&from&Antichrist&and&based&on&a& general&perspective.&Chapter&two,&about&anthropomorphism,&and&chapter&three,&about&dualism,&shall&
CHAOS&HEALS& & INTRODUCTION&
!
be&additional&chapters&to&the&first&chapter&where&close&readings&of&Antichrist&are&crucial&and& symbolism&towards&animals,&especially&the&fox,&the&deer,&and&the&crow&and&Greek&mythology,&are& substantial&matters.&I&will&use&anthropomorphism&and&dualism&as&subdmorality&topics&to&make&the&use& of&Nietzschean&philosophy&in&Antichrist&concrete.&Antichrist&embraces&this&Nietzschean&philosophy&on& certain&levels&and&creates&a&visual&world&where&an&opinionated&philosophical&perspective&will&be& delivered&on&an&individual&and&subjective&level.1.&MORALITY
The&AntidChrist&is&originally&seen&as&a&person&or&force&opposing&Christ&or&the&Christian&Church.&This& person&or&thing&is®arded&as&supremely&evil&and&is&therefore&a&fundamental&enemy&or&opponent&of& Christianity.&At&first&sight,&von&Trier’s&Antichrist&seems&to&embrace&this&perception&of&a&force&against& Christianity&as&well&as&a&natural&force,&within&women,&that&is&extremely&evil&and&bad.& She:&Women&do¬&control&their&own&bodies.&Nature&does.&I&have&it&in&writing&in&my&books.&He:& The&literature&that&you&used&in&your&research&was&about&evil&things&committed&against&women.& But&you&read&it&as&proof&of&the&evil&of&women?&You&were&supposed&to&be&critical&of&those&texts.& That&was&your&thesis.&Instead&you’re&embracing&it&(Antichrist).& Within&this&approach,&the&AntidChrist&is&visualized&through&nature,&animals&and&women;&all&of&them& are&represented&as&being&mad&and&evil,&embraced&by&She.&The&AntidChrist&is&underlined&as&a&symbol&of& the&Devil&or&Satan.&Within&this&perspective,&Antichrist&reflects&on&the&fear&that&Satan&is&inside&of&us.& Within&the&overanalyzing&and&tunnel&vision&of&von&Trier’s&film&focusing&on&gender,&this&evil&nature&is& obviously&connected&to&the&sexuality&of&women.& &&&In&a&Nietzschean&approach,&nature&and&gender&questions&are&no&longer&conceived&within&a& dominant&Christian&perspective.&Nietzsche&gave&the&AntidChrist&the&name&of&Dionysus,&the&Greek&god& of&wine.&For&Nietzsche,&the&AntidChrist&is¬&a&personification&of&an&evil&Satan&against&Christianity,&but& rather&a&celebration&of&something&beyond&Christianity.&This&celebration&was&found&in&aspects&of& Dionysus;&the&untamed&god&of&pleasure&and&wine.&The&value&of&Dionysus&within&this&context&emerges& in&Nietzsche’s&view&on&morality.&With&this&idea&of&morality&in&mind,&the&Nietzschean&underlying& interpretation&and&understanding&of&Antichrist&leads&to&an&alternative&analysis&of&von&Trier’s&first& ‘depression’&film.& & 1.1&Nietzsche’s&morality Nietzsche’s&perception&of&morality&is&the&main&feature&that&can&be&used&to&come&to&a&different& understanding&of&Antichrist;&the&Christian&morality&with&all&its&feelings&of&guilt&is&no&longer&decisive.) Within&Western&society,&morality&has&always&been&a&difficult&concept&to&define.&To&start,&it&has&to&do& with&a&variety&of&choices&that&we&have&to&make&in&life.&The&question&that&arises&together&with&these& choices&has&to&do&with&the&relationship&with&others,&and&besides&that,&the&question&of&what&is&wrong& and&what&is&right.&Morality&is&culturally&determined&and&moral&beliefs&depend&on&religion,&education& and&society.& &&&The&moral&beliefs&that&exist&within&a&religion,&an&education,&or&a&society&are&all&based&on&rules&used& to&control&others,&emerging&from&a&fundamental&power.&The&existence&of&morality&is&therefore&caused&CHAOS&HEALS& & MORALITY&
!
by&this&fundamental&power&present&in&all&human&beings.&According&to&Nietzsche,&this&fundamental& power&lies&within&the&‘will&to&power’&and&morality&is&just&a&tool&to&subdue&the&individual.&Moral&values,& like&charity&andcompassion,&are¬hing&more&than&a&tool&of&the&weak&individuals&to&protect& themselves&against&the&strong&individuals.&Because&of&the&classical&morality&it&is&possible&for&the&weak& to&defend&themselves&against&the&strong&individuals.&At&this&point,&Nietzsche&introduces&the&term& slaveHmorality: The&slave&has&an&unfavourable&eye&for&the&virtues&of&the&powerful;&he&has&a&skepticism&and& distrust,&a&REFINEMENT&of&distrust&of&everything&"good"&that&is&there&honoured—he&would&fain& persuade&himself&that&the&very&happiness&there&is¬&genuine.&On&the&other&hand,&THOSE& qualities&which&serve&to&alleviate&the&existence&of&sufferers&are&brought&into&prominence&and& flooded&with&light;&it&is&here&that&sympathy,&the&kind,&helping&hand,&the&warm&heart,&patience,& diligence,&humility,&and&friendliness&attain&to&honour;&for&here&these&are&the&most&useful& qualities,&and&almost&the&only&means&of&supporting&the&burden&of&existence.&(Nietzsche,& Beyond)Good)and)Evil&par.&260) Nietzsche&claims&with&this&sentence&that,&within&the&existing&morality&of&the&western&society,&all&the& ‘warmdhearted’&values&are¬hing&more&than&devices&to&control&the&powerful;&the&slaveHmorality&is&a& tool&to&handle&the&masters&and&to&prohibit&the&powerful&to&predominate&the&slaves.&As&an&example&of& the&slaveHmorality,&Nietzsche&focuses&on&Christianity.&According&to&Nietzsche,&Christian&morality&is& substantially&a&morality&that&is&able&to&demonstrate&the&decadence&of&the&western&society.&This& dominant&Christian&morality&leads&to&the&decline&of&civilization,&because&society&can&only&be& developed&by&the&strongest&individuals.& &&With&this&distinction&between&the&weak&and&strong&individuals,&and&the&use&of&morality&by&the&weak,& it&is&clear&that&Nietzsche&rather&focuses&on&the&value&of&morality&instead&of&the&origin&of&morality&(On) the)Genealogy)of)Morals,)preface&par.&5).&Nietzsche&actually&provides&an&understanding&of&the&origin& of&morality&through&an&explanation&of&the&dreadful&past&of&morals.&This&origin&of&morality&lies&within& the&history&of&human&beings&being&misled&by&civilization&and&Christian&morality.&Nietzsche&proclaims& that&under&Christianity,&neither&morality&d&and&actually&morality&in&the&most&common&sense&of&the& word&d&nor&religion&has&any&interface&with&actuality&(Antichrist&par.&15).&Each&moral&judgment&is& nothing&more&than&an&interpretation,&and&therefore&morality&cannot&be&linked&to&facts&or&actuality.& The&actuality&cannot&be&represented&with&the&suppression&of&morality;&morality&is&just&an&expression& to&map&the&errors&of&humanity. &&&For&Nietzsche,&some&of&the&errors&of&humanity&focus&on&the&false&position&in&relation&to&animals&and& nature&where&the&superiority&of&humanity&against&animals&and&nature&is&misplaced.&&Another&error&is& recognized&by&Nietzsche&as&the&imaginary&qualities&that&human&beings&attributed&to&themselves.&This& false&perspective&and&relationship&maps&the&question&of&truth&and&actuality,&and&is&undoubtedly&one& that&interested&Nietzsche.&The&distinction&Nietzsche&made&between&the&instinct&and&intuition&on&the&one&hand&and&the&intellect&on&the&other&is&crucial.&Actually,&Nietzsche¬es&that&the&intellect& distinguishes&human&beings&from&the&surrounding&nature.&Beside&human&life,&intellect&has&no&other& point&than&the&survival&of&humanity.&In&general,&intellect&is&the&main&component&of&force&that&is& possible&to&feign.&According&to&Nietzsche,&morality&distorts&our&basic&ways&of&thinking&about&life.&The& question®arding&good&and&evil&is&the&most&essential&misconception,&because&all&of&the&questions& are&easily&accepted&and&adopted&as&eternal&moral&values. Despite&pleading&about&the&errors&of&humanity&and&the&aversion&against&morality,&Nietzsche’s&view& is¬&the&end&of&a&positive&and&meaningful&future.&Nietzsche&offers&a&solution&for&humanity&by& providing&thoughts&to&go&beyond&good&and&evil;&there&is&a&possibility&for&the&strongest&to&give& meaning&to&their&own&lives&and&create&an&individual&reality.&A&metaphor&for&accomplishing&this&own& meaning&of&life&lies&within&the&verdict&of&the&death&of&God&by&Nietzsche.&With&this&verdict&there&is& again&a&great&aversion&against&Christian&morality.&Religion&is¬&obviously&a&truthful&foundation;& maybe&it&is&even&the&opposite,&where&religion&is&an&illusion&without&a&meaning: To&the&sort&of&men&who&reach&out&for&power&under&Judaism&and&Christianity,—that&is&to&say,&to& the&priestly&class—décadence&is&no&more&than&a&means&to&an&end.&Men&of&this&sort&have&a&vital& interest&in&making&mankind&sick,&and&in&confusing&the&values&of&“good”&and&“bad,”&“true”&and& “false”&in&a&manner&that&is¬&only&dangerous&to&life,&but&also&slanders&it.&(Nietzsche,&Antichrist& par.&24) Christianity&is&responsible&for&the&misinterpretation&and&understanding&of&all&things&in&life.&Christianity& powers&the&confusing&values&of&good&and&bad.&To&achieve&this,&Christianity&has&created&a&religion& where&it&is&allowed&one&to&love,&while&in&Nietzsche’s&view&love&is&the&state&in&which&man&sees&things&as& they&are¬.&Love&is&a&state&in&which&man&can&endure&more&and&hence&love&is&a&misleading&feeling,& used&within&religion.&God&functions&only&as&a&support&within&religion&and&society,&yet&if&God&is&dead& there&are&no&more&certainties.&All&that&remains&are&opinions&without&a&foundation.&Truth,&beauty,&and& morality&don’t&have&a&foundation&and&they&are&all&based&on&history,&conventions,&and&agreements.& Without&morality&and&with&the&death&of&God&there&is¬hing&the&weak&people&can&lean&on.&Together& with&the&loss&of&support&there&is&room&for&an&intensive&bodily&connection&to&arise;&we&can&hold&each& other,&yet&also&kill&each&other.&Murder&is,&above&all,&the&gravest&moral&offense.&With&the&death&of&God& there&is&the&issue&of&convention&and&power.&But&are&we&capable&to&endure&the&death&of&God? &&&&What&does&it&actually&mean&when&‘God&is&dead’?&To&answer&this&question&in&a&Nietzschean&way,&it&is& crucial&to&revert&to&his&slaveHmorality;&Christian&morality¬&only&permits&the&weakest&to&repress&the& strongest,&it&also&hands&the&weakest&a&tool&for&the&denial&of&their&own&existence.&According&to& Nietzsche,&there&is&simply&a&natural&distinction&between&strong&and&weak&human&beings.&Some& human&beings&are&weak&because&of&nature,&yet&there&is&also&a&possibility&where&human&beings&are& weak&because&of&unfavorable&circumstances&(AnselldPearson&xxv).&&Nietzsche&claims&that&Christian&
CHAOS&HEALS& & MORALITY&
!
morality&hands&the&weakest&a&tool&that&provides&them&with&a&way&to&accept&their&life&without& senseless&suffering.&No&human&being&is&capable&to&bear&senseless&suffering,&yet&the&‘slaves’&are&only& suffering&senseless&and&therefore&their&situation&is&hopeless.&With&the&words&of&a&priest,&the&weakest& are&given&an&interpretation&of&their&suffering&in&such&a&way&that&makes&sense&to&them.&The& conglomeration&and&organization&of&the&sick&can&be&found&in&the&Christian&Church&where&the&weak& are&safe;&at&this&stage&there&is&never&a&change&of&a&cure&(Nietzsche,&On)the)Genealogy)of)Morals)III& par.&16).&With&the&prospect&that&some&human&being&is&capable&of&feeling&guilty&or&sinful,&it&does¬& mean&that&this&feeling&is&proper.&With&the&death&of&God,&the&society&is&forced&to&let&go&of&morality;& when&morality&is&released,&a&chance&is&created&to&obtain&actuality&and&reality.&Through&letting&go&of& morality,&the&weak&are&without&purpose&but&the&strongest&get&a&chance&to&answer&the&question&of&the& essence&of&life.&& &&&The&Nietzschean&essence&of&life&is&the&perspective.&The&crucial&equivalents&in&the&work&of&Nietzsche& demonstrate&the&perspective&as&a&start&for&all&interpretation&and&appreciation.&There&is&always&a&value& connected&with&the&way&we&experience&things&and&that&value&can&express&itself&in&feeling,&affect,& instinct,&or&drift.&Those&drifts,&such&as&selfdpreservation,&sexuality,&or&selfdinterest,&drive&the&human& being.&This&perspective,&one&that&goes&beyond&certain&rules&of&a&family&or&culture,&is&the&start&of&the& detachment&to&find&your&own&essence&of&life.&We&all&know&that&we&are&going&to&die.&We&know&how&it& feels&to&be&in&pain&and&we&know&the&feeling&of&being&betrayed.&We&only&survive&when&we&are&able&to& detach&all&the&rules&and&moral&aspects.&First&of&all,&there&is&a&state&of&rebellion;&almost&pubertal,&and& also&the&most&dangerous&because&of&the&suspicion.&A&feeling&of&suspicion&is&definitely&destructive,&but& Nietzsche&claims&that&life&does¬&need&to&be&destructive&all&the&time.&To&avoid&suspicion,&this&feeling& is&an&opening&to&certain&caution;&we&need&to&figure&out&cautiously&what&life&is&all&about.&The&essence& of&life&lies&in&interpretation&and&your&own&hierarchy&of&values.&This&hierarchy&emerges&in&yourself& without&God&or&a&discipline;&the&only&way&to&give&meaning&to&your&life&is&to&be&truthful&to&yourself.& &&&In&Nietzsche’s&view,&the&meaning&of&life&can&be&found&within&his&own&version&of&morality&based&on& desire&and&control.&Today&we&live&in&an&era&of&pleasure.&Pleasure&is&definitely¬&something&Nietzsche& rejects,&yet&he&thought&life&would&end&in&pleasure.&An&abundance&of&pleasure&will&lead&to&mania&or& depression,&yet&there&is&a&way&out;&you&need&to&conquer&yourself&by&tackling&prevailing&morality.& Ironically,&morality&has&all&the&interpretative&values&as&the&starting&point&of&its&existence.&Nietzsche& was&already&occupied&with&desire&as&a&basis&for&morality.&Desire,&to&Nietzsche,&is&connected&with& pleasure&that&is&responsible&for&all&meaningdcreation&and&finds&its&roots&in&ancient&Greece&and&the& Dionysianism&(Murray&VII).&The&Christian&morality&punishes&the&drifts&and&therefore&desire&must&be& suppressed.&The&pleasures&that&are&meaningdcreations&are&always&present&in&morality;&the&conception& is&the&only&thing&that&differs&within&a&specific&morality.&To&define&this&specific&morality,&Nietzsche&concentrates&on&drifts&and&pleasures&of&the&ancient&Greeks.& The&Greeks&were&of&great&importance&to&the&interpretation&of&Nietzsche’s&philosophy.&Nietzsche&used& not&only&the&concept&of&Dionysus&and&Apollo&to&clarify&his&thoughts&about&morality,&he&also&used&this& whole&idea&as&a&possibility&to&explain&humanity&in&general&and&what&it&takes&to&reach&a&kind&of&loyalty& to&yourself.&In&his&Birth)of)Tragedy&the&main&focus&is&on&the&drifts&and&Apollo&and&Dionysus.&Drifts&can& exist&side&by&side&and&they&are&periodically&reconciled.&&Those&drifts&are&based&on&the&powers&of&the& Greek&gods&Apollo&and&Dionysus.&The&most&significant¬ion&to&keep&in&mind&is&that&Nietzsche&used&a& discord.&The&clearest&discord&for&human&beings&is&that&of&man&and&woman,&the&ones&whom&we&called& father&and&mother.&There&is&definitely&an&opposition&between&them,&but&at&the&same&time&they&carry& the&possibility&of&confluence.&Human&beings&tend&to&choose&one&side,&usually&the&good&side.&The& question&is&whether&nature&is&dealing&with&this&principle&in&a&same&manner&as&human&beings&do;&a& question&which&is&always&present&in&the&work&of&Nietzsche.&In&many&ways,&the&conceptions&of&the& Greeks&correspond&to&those&of&Nietzsche. &&&First&of&all,&the&Olympian&world&was&based&on&the&fact&that&the&Greeks&knew&and&experienced&the& terrors&of&life&(Rapp&319).&As&already&mentioned,&Nietzsche&understood&Christian&morality&as&being& conceived&to&make&life&involve&less&suffering,&without&facing&the&terrors&of&life.&This&kind&of&disguise&is& something&for&the&weak&human&beings.&Because&they&faced&the&apprehensive&side&of&life,&the&Greeks& were&strong&human&beings&who&were&capable&to&the&sanctification&of&life.& &&&With&understanding&the&Greeks&as&human&beings&who&knew&all&the&terrors&of&life,&and&the&Christians& as¬&doing&so,&why&did&Nietzsche&announce&the&death&of&God&as&a&good&thing&while&at&the&same& time&seeing&the&Greek&gods&as&an&inspiration&and&a&strong&expression?&The&crucial&difference&between& the&gods&of&the&Greeks&and&the&one&God&of&the&Christians&lies&in&the&perception&of&the&gods;&the&one& true&God&for&the&Christians&is&a&tool&for&the&denial&of&their&own&existence,&while&the&gods&of&the& Greeks&are&gods&for&deifying&all&things&whether&they&were&good&or&bad.&The&Christian&God&is&a&God& who&operates&far&above&humanity&and&all&his&actions&or&decisions&are&explained&as&good.&Of&course,& his&objector&is&the&Devil&or&Satan&who&represents&all&evil&and&bad&things.&Although&the&gods&of&the& Greeks&were&also&tools&for&making&life&more&acceptable,&the&interpretation&of&the&gods&was&on&a& completely&different&level&than&that&of&the&Christian&God.&For&the&Greeks&the&gods&were¬&disguises& to&deny&senseless&suffering;&the&gods&were&used&for&making&life&bearable&because&their&gods&lived&the& same&life.&The&Greeks&were&capable&of&having&a&good&attitude&towards&nature&and&life; That&which&is&so&astonishing&in&the&religious&life&of&the&ancient&Greeks&is&the&irrestrainable& stream&of&GRATITUDE&which&it&pours&forth—it&is&a&very&superior&kind&of&man&who&takes&SUCH& an&attitude&towards&nature&and&life.—Later&on,&when&the&populace&got&the&upper&hand&in& Greece,&FEAR&became&rampant&also&in&religion;&and&Christianity&was&preparing&itself&(Nietzsche,& Beyond)Good)and)Evil&par.&49).&
CHAOS&HEALS& & MORALITY&
!
According&to&Nietzsche,&Apollo&and&Dionysus&represent&all&things&needed&in&life.&Without&Dionysus,& Apollonian&life&was¬&complete.&The&most&crucial&aspect&of&the&two&Greek&gods&that&Nietzsche&used& in&his&philosophy&was&the&relationship&between&art,&Apollo,&and&Dionysus.&He&used&both&God’s&names& to&focus&on&art;&art&as&a&counter&movement&to&religion,&morality,&and&philosophy.&The&Apollonian& stage&has&everything&to&do&with&the&acceptance&of&life.&However,&this&stage&was&of&so&much& sanctification&that&Apollo&became&an&illusion&(Rapp&319).&The&Apollonian&art&was&a&cover&for&life& because&the&art&was&actually&beautiful&and&perfect.&Apollo&was&always&pictured&as&the&most& characteristically&Greek&of&all&the&gods.&The&god&of&sun&and&music&was¬&only&the&god&of&the&dream,& the&reason,&and&the&harmony;&he&was&also&the&god&of&purification&and&healing.&With&all&these& connections&Apollo&was&almost&perfect.&Nevertheless,&this&perfection&became&an&illusion&with& Apollo’s&artistic&expressions&where&the&sun&god&was&pictured&as&the&ideal&male&figure.&Yet&at&the&same& time,&he&always&kept&his&psychical&strength&and&good&health&of&youth&(Hard&142).& &&&With&the&almost&perfect,&yet&illusionistic,&Apollonian&stage,&the&need&for&Dionysus&increased.&In& Nietzsche’s&view,&Christian&morality&is&based&on&a&sober&way&of&life,&while&the&Dionysian&morality&is& the&opposite;&Dionysus&is&the&untamed&god&of&pleasure&and&wine,&and&according&to&the&ancient& Greeks&also&a&god&for&women.&The&reference&to&women&arose&because&of&the&link&between&Dionysus& with&sensuality&and&emphasis&on&sexual&love.&Those&properties&were&presented&as&the&feminine& nature.&It&is&even&claimed&that&Dionysus&is&a&woman’s&god&in&the&fullest&sense&of&the&word&and&the& source&of&all&woman’s&sensual&and&transcendent&hopes&(Kerényi&130).& &&&Nietzsche&used,&besides&Dionysus&for&explaining&morality&as&a&pleasuredstate,&Apollo&to&express&a& fundamental&duality&in&Greek&culture.&The&Greek&god&Apollo&personifies&a&constructive,&conceptual& way&of&perceiving&the&world.&The&dichotomy&that&is&created&by&Nietzsche&is&an&essential&aspect&of&the& philosophy&of&Nietzsche.&During&the&period&of&the&ancient&Greeks,&those&two&moralities&existed&side& by&side&with&a&periodic&reconciliation.&It&is¬eworthy&that&Nietzsche&concentrates&here&on&aesthetic& aspects&and&combines&morality&with&an&expression&of&art.&Greek&tragedies,&explained&with&the¬ions& of&Dionysus&and&Apollo,&are&artificial&worlds&described&by&Nietzsche&as&a&world&of&the&dream,&and&a& world&of&intoxication,&respectively.&Apollo&was&best&represented&by&the&dream,&man’s&most&effective& producer&of&images&(MacGinty&39).&Because&of&the&capability&to&produce&images,&Apollo&also&shows& the&individuality&of&man&against&all&chaos&of&life.&Beside&the&aesthetic&value&of&this&discord,&it&can&also& be&explained&on&an&anthropological&level&where&Apollo&represents&the&perfect&dream&images&where& everything&has&a&meaning,&and&Dionysus&represents&all&the&fulfilled&yearnings.&The&result&of&this& fulfillment&is&the&bestiality&in&man.&When&the&control&of&dreamdimages&disappears,&there&are&no& longer&any&barriers&between&men&and&nature.&To&refer&again&to&the&essence&of&life,&it&is&also&necessary& to&realize&that&Nietzsche&is¬&simply&comprehensible&in&such&a&way&that&we&need&to&take&these&pleasure.&The&most&significant&assertion&to&keep&in&mind,&is&that&truth&is&always&dependant&on& individual&interpretation.&There&is&no&such&thing&as&the&ultimate&truth;&there&is&only&the&subjective& perspective.& & 1.2&Ambiguous&morality&in&the&film&art&of&Antichrist&& & In&respect&of&Nietzsche,&von&Trier’s&Antichrist&includes&all&the&aforementioned&expressions&of& morality.&The&ambiguity&of&morality&is¬&only&maintained&by&the&dominant,&on&gender&and& Christianity&oriented&interpretation&of&the&film;&Von&Trier&himself&also&preserves&this&dubiety.&In&an& interview&with&von&Trier&in&Die)Zeit)d&a&German&national&weekly&newspaper&d&von&Trier&answered&the& question&whether&he&is&a&moralist&or¬&with&‘Yes&maybe.&Or&better¬&(Nicodemus&n.&pg.)’.& Answering&the&next&question,&von&Trier&confuses&even&more&as&he&underlines&that&he&is&‘[…]&a& moralist.&But&I&don’t&want&my&films&to&be&moralistic.&I&also&don’t&want&you&to&think&I’m&a&moralist.&I& want&you&to&think&that&I’m&cruel,&hard&and&manly&(Nicodemus&n.&pg.)’.&With&these&words,&von&Trier&yet& again&proves&his&talent&to&confuse&and&provoke&with&his&film&art.&With&interviews&and&some& explanations&of&his&films,&von&Trier&still&leaves&much&to&interpretation&and&thus&supports&a&kind&of&film& philosophy.&One&can&say&that&von&Trier’s&films&are&an&art&discipline&for&creating&an&individual& perspective&with&its&own&interpretation.&Von&Trier’s&films,&such&as&Antichrist,&can&connect&to& Nietzsche’s&philosophy&because&neither&focus&on&finding&a&truth.&Nevertheless,&both&offer&a&chance&to& find&a&personal&meaning.&At&first&glance,&von&Trier’s&films&focus&on&provoking,&shocking&and&confusing,& however,&with&all&these&first&impressions&his&films&can&say&something&truthful&about&life.&Antichrist&can& show&a&certain&way&of&the&meaning&of&life®arding&Nietzsche,&and&enhance&our&emotions,&feelings,& drifts,&and&desires.&To&go&one&step&further;&Antichrist&is&able&to&visualize&our&desire&and&fear&for& eternal&life.&To&provide&a&clear&analysis&of&this&statement&in&Antichrist,&the&structure&of&the&film&is& crucial. &&&Antichrist&presents&its&story&in&four&chapters&represented&by&the&words&‘Grief’,&‘Pain’,&‘Despair’&and& ‘The&Three&Beggars’.&These&chapters&are&framed&by&a&prologue&and&an&epilogue.&In&the&prologue&the& incident&that&is&responsible&for&the&emotional&circumstances&and&that&provides&an&explanation&for&the& start&of&the&first&chapter,&is&shown.&During&a&passionate&lovemaking&session,&the&couple,&credited&only& as&‘He’&and&‘She’,&loses&their&child;&the&child&escapes&from&his&crib&and&falls,&together&with&his&teddy& bear,&out&of&the&window&into&the&snow.& &&&The&visual&style&of&the&prologue&of&Antichrist&starts&with&an&immense&focus&on&the&slow&motion&black& and&white&images&of&the&intimate&couple.&The&slow&motion&as&well&as&black&and&white&images&suggest&
CHAOS&HEALS& & MORALITY&
