Thomas Vinterberg's Festen by Thomson Claire C.;

Author:Thomson, Claire C.;
Language: eng
Format: epub
Publisher: University of Washington Press

Conclusion

The first rule of the Dogma 95 Vow of Chastity insists that the film be shot on location and that props and sets must not be brought in. This rule necessitates that complex and well-equipped spaces must be found for each film, and the organization of the space in question will inevitably leave its mark on the narrative. However, there is a more complex relationship between film text and location, which can best be grasped by taking into account the similarities between, on the one hand, the construction of a space on-screen through (primarily) camerawork and editing and, on the other, the individual's apprehension of a space through which he or she physically moves. The affinities and lines of influence between the organization of spaces in art and the organization of art in space have exercised a range of critical theorists wishing to account for a viewer's experience of the encounter with on-screen (or virtual) space. In the case of Festen, camerawork and editing establish the hotel as discontinuous, both private and public, possibly inhabited by ghosts, and merely passed through by guests. The camera's intimate relation to the bodies in the hotel, as discussed in the previous chapter, is now seen to be complemented (or complicated) by another mood: it lurks in corners and on thresholds and constructs a fragmented space, the invisible dimensions of which it gestures to via the reflections and refractions of mirrored and glass surfaces.

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