A háborúnak (nincs) vége. A traumamunka színrevitele Lola Arias dokumentumfilmjében (Theatre of War, 2018)
The War (Does Not) End(s). Staging Trauma Work in Lola Arias’s Documentary (Theatre of War, 2018)

Summary/Abstract: In my study I want to explore the working of the Brechtian aesthetic in Lars von Trier’s *Dogville* and *Manderlay* while comparing them with movies preferred by the post-Brechtian aesthetic of the 60s and the 70s. Through my comparison I want to argue that Lars von Trier understands Brecht quite differently than did the post-Brechtian aesthetic of the 60s and 70s, and he also realises the Brechtian aesthetic in his movies otherwise than did Godard and the Straub–Huillet duo: while the most important effort of the latter was breaking the spectator’s identification, or rather its total destruction, von Trier seeks to confront the spectators with questions, problems, and contradictions, and make them think about these.

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