PÓS-MODERNIDADE E PASTICHE EM “A CASA QUE JACK CONSTRUIU"

Abstract

This article aims to investigate the postmodern artistic production model, which is identified as interartistic, self-reflective and fragmented. Therefore, the film The House Jack Built (2018), by Lars von Trier, will be used. Trier's film presents the reports of a serial killer, with artistic pretensions, which are outlined as a kind of essay on the relations between aesthetic performance and evil, rooted in the arid soil of the contemporary corrupted echoes of the old ambitions of the romantic genius. To this end, we intend to investigate the way in which the film consciously operates the pastiche of the aesthetics of the sublime, from the appropriation of the references of high artistic and literary culture, evoked through a bricolage process, in which the distortion is printed as a testament to the creative anguish in contemporary times.