@article{ref1,
title="The melancholy condition of realism: (With notes on Lars von Trier's Melancholia)",
journal="Orbis Litterarum",
year="2021",
author="Jukić, T.",
volume="76",
number="4",
pages="191-203",
abstract="Drawing on the work of Sigmund Freud (1891, 1917) and Carl Schmitt (1956), I show how twentieth-century accounts of melancholia, in psychoanalysis and in political theory, entail a presentation of the world that dovetails with nineteenth-century realism. This suggests that realism is fundamentally a response to the melancholy condition that underlies modernity, and could be analyzed as such; it also suggests that realism persists in the twentieth century as a peculiar configuration of melancholia. Erwin Panofsky's film theory (1936) exemplifies this position. Based staunchly in realism, Panofsky's film theory is consistent with his comprehensive early exploration of melancholia (1923); no less than the rationale of cinema is thus shown to be moored in the melancholy condition of realism. It is a juncture explored by Lars von Trier in Melancholia (2011): while studiously arranging his cinematic study of melancholia around realism, Trier implies that film's likely neglect of realism in the twenty-first century amounts to cinematic suicide and, consequently, to the end of the modern world. © 2021 John Wiley & Sons A/S. Published by John Wiley & Sons Ltd<p /><p>Language: en</p>",
language="en",
issn="0105-7510",
doi="10.1111/oli.12311",
url="http://dx.doi.org/10.1111/oli.12311"
}