Güzel Sanatlarin Birer Dalı Olarak Cinayet ve İmgelerarasılık: The House That Jack Built Örneği
Murder And Inter-Imagery as Fine Arts: The House That Jack Built as a Case Study

Summary/Abstract: Lars von Trier is a renowned director for his own provocative language of filmmaking and rebellious stance against dominant Hollywood cinema by means of his controversial films. A thought-provoking language that subverts extant assumptions and norms is prominent in Trier’s ouvre because his films rejects ideological conventions through cinematic provocations in order to reveal the ‘truth’ in the clichés related to anti-Semitism, race relations, politics of gender and misconceptions. Thus, on the one hand Lars von Trier has left his mark in the film history with respect to films he shot and radical topics he tackled, and on the other he has become the focus fierce debates. Starting with his first film The Element of Crime (1984), films such as Europa (1991), Breaking the Waves (1996), Idioterne (1998), The Dancer in the Dark (2000) have laid the foundation of his filmography. His following films Dogville (2003) ve Manderlay (2005) drawed attention especially in terms of their style of mise en scene borrowed from epic theatre. Trier has gone on to direct contentious films such as Antichrist (2009), Melancholia (2011) and Nymphomaniac I-II (2013), on which there has been much debate in terms of in aesthetics, ethics and politics and still are. As a matter of fact, Charles Martig, who claims that the director’s provocative inclinations has become superposable to his filmography, designates the cinema of Lars von Trier as a ‘cinema of irritation’. In Trier's most recent film, The House that Jack Built (2018), the murders committed by a clever, OCD serial killer with obsessions of neatness and perfection form the main theme of the film. The main character of the film, Jack, kills his victims with the perfection of a great artist that creates a painting or musical masterpiece. In this paper, The House That Jack Built, the most recent film by Lars von Trier, is approached as an example of cinema of irritation and a self-reflexive/metafilm in terms of epitomizing the ouvre and filmmaking practice of the director; revealing the essence of understanding of cinema that he adopted while he was creating his own individual persona. This paper makes a discussion on the manifestations of inter-agency in Lars von Trier’s cinema of irritation by focusing specifically on The House That Jack Built as a case study.

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