THE IDIOTS : A REALITY OF FICTION - 1
At first , Karen came to the spasser's sphere , holding hand of the stoffer . . .
" Beyond the fiction of reality , there is the reality of fiction " - Slavoj Zizek
At one hour and twenty six minutes of the film , in the sequence Josephine is being taken home by her father , Jeppe ran behind their car . After that in the same sequence , Jeppe jump on the car - black window stands between Jeppe and Josephine No words , No silence is needed for them but only some gestures that express inner tensions and intuitions inside them , in the sequence while two realities are being concretely seperated . This constant discourse between these two realities or I can say two kinds of fiction happen throuhout the film Idiots .
- Josephine , " I wasn't watching anybody "
- Josephine , " I was trying to feel it for myself "
Josephine says these words when she is asked by Jeppe whether he is good as a spasser or not . This also displays establishment of another status of quality that everyone should be good in - making of a new essential qualification . Being a spasser is an another job . The group is like a live laboratory for each and everyone driven by their own purpose . Ped - what does he write about all the time ? and Axel , and Katrine , and Henrik - everyone takes their part in this sphere with their own reason but not with the reason of securing any change for the reality - so popular conviction of revolution here lost . Characters are repleted with diamond-like-multiplicities . With all the hand-held camera angles and no extra props and no prompted light sources , they participated to play their roles - they were performing . Von Trier didn't want to fake the fact that he is searching for a more ground-level-reality for the spectators who were the readers of novels before .
glimpses of reality
The Interviews : Between the shots interviews of the actors , talking about the events and characters , are adjoined . When they are giving interviews , they stay no longer the characters , but the most trustful spectators of those activites with empirical datas in their hands . They do assumptions of inner will of the movements of the narrative and events . But their comments also seem deluded to us 'cause of our another conviction about cinema - as a medium - that it creates beautiful illusions .
The real retarded : Between thirty nine minutes to forty minutes , a group of purely retarded people came to visit the actors-spassers' home . By this time comparatively all events serve some sorts of purpose for the story to progress deliberately . The design of this particular sequence is composed based on the pattern of retarded psyches . The sequence seem on the surface at least so purposeless so illogical to the story that we couldn't understand the reason behind their coming . The sequence hammers us , shocks us so furiously that we couldn't understand the existence of the real retarded - existence of the sequence . They are useless , and also there is no justification needed for this uselessness - how intensely raw they are , even the realism can't become that much real - this truth collapses our vision - we become shattered for a while . Von Trier injects violence-violence through this sequence in the middle of a calculated phantom. It was as if all doors of realities opened for a moment , we stayed busy finding reasons and purposes that the truth passes by our eyes . It was a baffled try for touching a bit of truth just for once .
the trading between two worlds
The film has two worlds . A world that is conceptualized . Another world that is according to the film , the outer world . Exchange , a kind of trading goes on between these two worlds . At first , Karen came to the spasser's sphere , holding hand of the stoffer and at the last plot point Josephine left the spasser's sphere holding hands of her father . And it seems that these kinds of trading between these two spheres are quite possible and usual . As we saw before , Katrine's rejoining to the group after leaving once and Axel's annulment of the group after listening to game's decision , so we get to know altering positions between two kinds of fiction is possible for them - it's a play ! But they are bound to play and perform in both formations of the structure . In one formation for discovering , seeking knowledge or having ' fun ' . And in another formation for another kinds of ambition - aim or coercion of seeking for another comfort or another satisfaction . Yeah in this rat-game , a formation - a fiction is trying to dominate-overplay other one as if one is eternally telling the spectator - trying to convince us , " Look ! Look ! I am not the fiction , I am the reality "
A confession
Previously , in the sequence of spasser's gangbang , Jeppe and Josephine made love in spasser's fashion . Then Josephine confessed to Jeppe . She said , " I love you " - a very much used cliche - this is for this cause is important . Is the scene not a recreation of the primitively popular narrative of Adam and Eve ? Is the scene not giving allusion to a primitive error ? In similiarly different perspective , beyond defitions of reality and fiction , the scene is taking breath here , in this unique scene . This scene captures no vigour but by releasing the boredom of searching and examining - searching and examining , this scene becomes essentially sloth . The scene holds a momentary freedom when none of them ( Jeppe and Josephine ) is actually thinking about anything at all but feeling every sensation of safety purposelessly .
A purposeful ending
As there is no extra - post production tools used , no prompted light used , no extra props used , no perfected mise-en-scene kept , so the spectators have to imagine like an archaelogist to hold the story . As if after drinking the water now they have to chew it . This is a complexly straight map of story telling - Von Trier had taken and gave us , to the spectators when there was never a promise to build something so real . But if there was any preface then it was meant to say : The film will be so real that everyone will be busy seeking the fictious elements in the it .
At first , Karen came to the spasser's sphere , holding hand of the stoffer . . .
" Beyond the fiction of reality , there is the reality of fiction " - Slavoj Zizek
At one hour and twenty six minutes of the film , in the sequence Josephine is being taken home by her father , Jeppe ran behind their car . After that in the same sequence , Jeppe jump on the car - black window stands between Jeppe and Josephine No words , No silence is needed for them but only some gestures that express inner tensions and intuitions inside them , in the sequence while two realities are being concretely seperated . This constant discourse between these two realities or I can say two kinds of fiction happen throuhout the film Idiots .
- Josephine , " I wasn't watching anybody "
- Josephine , " I was trying to feel it for myself "
Josephine says these words when she is asked by Jeppe whether he is good as a spasser or not . This also displays establishment of another status of quality that everyone should be good in - making of a new essential qualification . Being a spasser is an another job . The group is like a live laboratory for each and everyone driven by their own purpose . Ped - what does he write about all the time ? and Axel , and Katrine , and Henrik - everyone takes their part in this sphere with their own reason but not with the reason of securing any change for the reality - so popular conviction of revolution here lost . Characters are repleted with diamond-like-multiplicities . With all the hand-held camera angles and no extra props and no prompted light sources , they participated to play their roles - they were performing . Von Trier didn't want to fake the fact that he is searching for a more ground-level-reality for the spectators who were the readers of novels before .
glimpses of reality
The Interviews : Between the shots interviews of the actors , talking about the events and characters , are adjoined . When they are giving interviews , they stay no longer the characters , but the most trustful spectators of those activites with empirical datas in their hands . They do assumptions of inner will of the movements of the narrative and events . But their comments also seem deluded to us 'cause of our another conviction about cinema - as a medium - that it creates beautiful illusions .
The real retarded : Between thirty nine minutes to forty minutes , a group of purely retarded people came to visit the actors-spassers' home . By this time comparatively all events serve some sorts of purpose for the story to progress deliberately . The design of this particular sequence is composed based on the pattern of retarded psyches . The sequence seem on the surface at least so purposeless so illogical to the story that we couldn't understand the reason behind their coming . The sequence hammers us , shocks us so furiously that we couldn't understand the existence of the real retarded - existence of the sequence . They are useless , and also there is no justification needed for this uselessness - how intensely raw they are , even the realism can't become that much real - this truth collapses our vision - we become shattered for a while . Von Trier injects violence-violence through this sequence in the middle of a calculated phantom. It was as if all doors of realities opened for a moment , we stayed busy finding reasons and purposes that the truth passes by our eyes . It was a baffled try for touching a bit of truth just for once .
the trading between two worlds
The film has two worlds . A world that is conceptualized . Another world that is according to the film , the outer world . Exchange , a kind of trading goes on between these two worlds . At first , Karen came to the spasser's sphere , holding hand of the stoffer and at the last plot point Josephine left the spasser's sphere holding hands of her father . And it seems that these kinds of trading between these two spheres are quite possible and usual . As we saw before , Katrine's rejoining to the group after leaving once and Axel's annulment of the group after listening to game's decision , so we get to know altering positions between two kinds of fiction is possible for them - it's a play ! But they are bound to play and perform in both formations of the structure . In one formation for discovering , seeking knowledge or having ' fun ' . And in another formation for another kinds of ambition - aim or coercion of seeking for another comfort or another satisfaction . Yeah in this rat-game , a formation - a fiction is trying to dominate-overplay other one as if one is eternally telling the spectator - trying to convince us , " Look ! Look ! I am not the fiction , I am the reality "
A confession
Previously , in the sequence of spasser's gangbang , Jeppe and Josephine made love in spasser's fashion . Then Josephine confessed to Jeppe . She said , " I love you " - a very much used cliche - this is for this cause is important . Is the scene not a recreation of the primitively popular narrative of Adam and Eve ? Is the scene not giving allusion to a primitive error ? In similiarly different perspective , beyond defitions of reality and fiction , the scene is taking breath here , in this unique scene . This scene captures no vigour but by releasing the boredom of searching and examining - searching and examining , this scene becomes essentially sloth . The scene holds a momentary freedom when none of them ( Jeppe and Josephine ) is actually thinking about anything at all but feeling every sensation of safety purposelessly .
A purposeful ending
As there is no extra - post production tools used , no prompted light used , no extra props used , no perfected mise-en-scene kept , so the spectators have to imagine like an archaelogist to hold the story . As if after drinking the water now they have to chew it . This is a complexly straight map of story telling - Von Trier had taken and gave us , to the spectators when there was never a promise to build something so real . But if there was any preface then it was meant to say : The film will be so real that everyone will be busy seeking the fictious elements in the it .
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