Lizenz zum Dogma: Manifest Dogma 95

[Anonym]

Kristian Levring, Søren Kragh-Jacobsen, Thomas Vinterberg, und Lars von Trier stellten 1995 ihr Filmdogma im Manifest 95 vor. Es mahnt zur Vorsicht vor lebensfremden Dramaturgien und versucht mit einem Keuschheitskatalog der Wirklichkeitsentfremdung durch Film entgegenzutreten. Mittlerweile ist auf den Versuch des Bruches mit filmischen Seh-, Hör-, Erlebnis- und Produktionsgewohnheiten, der Bruch mit dem eigenen Manifest zehn Jahre nach Ausarbeitung des Dogmas 95 gefolgt. Aber nicht nur als Ausdruck dänischer Sehnsucht nach medialer Transparenz, ist das Dogma 95 Manifest gedacht, sondern auch Meilenstein im Versuch des Films, Sicherheiten darüber zu gewinnen, wie nah filmisch produzierte Realität der Realiät kommt, ein Abstandsmesser hinzuzugewinnen.

DOGMA 95 is a collective of film directors founded in Copenhagen in spring 1995, DOGMA 95 has the expressed goal of countering “certain tendencies” in the cinema today.
DOGMA 95 is a rescue action!
In 1960 enough was enough! The movie was dead and called for resurrection. The goal was correct but the means were not! The new wave proved to be a ripple that washed ashore and turned to muck.
Slogans of individualism and freedom created works for a while, but no changes. The wave was up for grabs, like the directors themselves. The wave was never stronger than the men behind it. The anti-bourgeois cinema itself became bourgeois, because the foundations upon which its theories were based was the bourgeois perception of art. The auteur concept was bourgeois romanticism from the very start and thereby … false!
To DOGMA 95 cinema is not individual!
Today a technological storm is raging, the result of which will be the ultimate democratisation of the cinema. For the first time, anyone can make movies. But the more accessible the media becomes, the more important the avant-garde. It is no accident that the phrase “avant-garde” has military connotations. Discipline is the answer … we must put our films into uniform, because the individual film will be decadent by definition!
DOGMA 95 counters the individual film by the principle of presenting an indisputable set of rules known as THE VOW OF CHASTITY.
In 1960 enough was enough! The movie had been cosmeticised to death, they said; yet since then the use of cosmetics has exploded.
The “supreme” task of the decadent film-makers is to fool the audience. Is that what we are so proud of? Is that what the “100 years” have brought us? Illusions via which emotions can be communicated? … By the individual artist’s free choice of trickery?
Predictability (dramaturgy) has become the golden calf around which we dance. Having the characters’ inner lives justify the plot is too complicated, and not “high art”. As never before, the superficial action and the superficial movie are receiving all the praise. The result is barren. An illusion of pathos and an illusion of love.
To DOGMA 95 the movie is not illusion!
Today a technological storm is raging of which the result is the elevation of cosmetics to God. By using new technology anyone at any time can wash the last grains of truth away in the deadly embrace of sensation. The illusions are everything the movie can hide behind. DOGMA 95 counters the film of illusion by the presentation of an indisputable set of rules known as THE VOW OF CHASTITY.
The Vow of Chastity
I swear to submit to the following set of rules drawn up and confirmed by DOGMA 95:
1. Shooting must be done on location. Props and sets must not be brought in (if a particular prop is necessary for the story, a location must be chosen where this prop is to be found).
2. The sound must never be produced apart from the images or vice versa. (Music must not be used unless it occurs where the scene is being shot).
3. The camera must be hand-held. Any movement or immobility attainable in the hand is permitted. (The film must not take place where the camera is standing; shooting must take place where the film takes place).
4. The film must be in colour. Special lighting is not acceptable. (If there is too little light for exposure the scene must be cut or a single lamp be attached to the camera).
5. Optical work and filters are forbidden.
6. The film must not contain superficial action. (Murders, weapons, etc. must not occur.)
7. Temporal and geographical alienation are forbidden. (That is to say that the film takes place here and now.)
8. Genre movies are not acceptable.
9. The film format must be Academy 35 mm.
10. The director must not be credited.
Furthermore I swear as a director to refrain from personal taste! I am no longer an artist. I swear to refrain from creating a “work”, as I regard the instant as more important than the whole. My supreme goal is to force the truth out of my characters and settings. I swear to do so by all the means available and at the cost of any good taste and any aesthetic considerations.
Thus I make my VOW OF CHASTITY
Copenhagen, Monday 13 March 1995
On behalf of DOGMA 95
Lars von Trier, Thomas Vinterberg

[Autor]

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