Perspectives: Post-modernism in Dancer in the Dark (2000)

 Figure 1: Dancer in the Dark (2000) - Film Poster

Dancer in the dark by Lars Von Trier is considered an example of a post-modern film for multiple reasons. It is the story of a struggling mother desperately doing all she can for her son to have a better life. 

Lars Von Trier has used multiple themes to confront the ideas of the traditional film, the first and foremost is the concepts of musicals. A beloved thing in Hollywood history is the 'musical', a production brimming with song and dance, common tropes of this show incredibly happy people. Positivity and optimism go hand in hand and the films always end in a good wholesome outcome. Dancer in the dark instantly challenges this notion. Bjork who plays the main character Selma is flitting between the musical fantasy of her mind and the cold harsh reality. The choreographed scenes are crafted out of the moment, and happen in depressing environments like courtrooms, factories and notoriously, on the long mile to the execution chamber. The film ends with the sound of Bjork slipping into one of her musical episodes and the sudden sound of her neck breaking as she is dropped through the gallows; a very un-hollywood, musical ending.      

 Figure 2: Dancer in the Dark (2000) - Musical in Factory

A handheld camera films the entire film as if we 'the audience' were following Stella around like a friend, or onlooker. It confronts the ideas of traditional filmmaking with a static camera, it also goes a long way to creating the division between the two worlds, the reality, and Stellas musical episodes. During these, a static camera is used in order to give the scenes a more theatrical feel, instead of watching from the point of view of a person in the situation you are instead the audience of a production.  

 Figure 3: Dancer in the Dark (2000) - Courtroom drama

Shots are filmed in a very mundane way, much of the theatrics are shot almost as if they are security cameras, even though we are watching a theatrical production it is almost as if we are sitting behind the security terminal in the control room watching it from a distance.    

There isn't much of a clear timeline during the film, it lends a warping perspective to the character of Stella, possibly a window into her mind. The scenes could be placed around and it wouldn't make much of a difference to the flow of the narrative. 

Illustration: 

Figure 1: Dancer in the Dark (2000) [film poster] - Lars Von Trier: Zentropa Entertainments,  Trust Film svenska

Figure 2: Dancer in the Dark (2000) [film still] - Lars Von Trier: Zentropa Entertainments,  Trust Film svenska

Figure 3: Dancer in the Dark (2000) [film still] - Lars Von Trier: Zentropa Entertainments,  Trust Film svenska