In the last few years, much has been written on the
work of Lars von Trier, though the majority of these
texts are built around matters of aesthetic and
auteurist interest. What is lacking in these
investigations, however, is an articulation of the
films sonic properties, sado-masochistic structures,
and affective potentialities.

Sound Affects seeks a greater understanding of these
facets of von Triers films, moving beyond more
traditional ocular-centric modes of investigation to
focus its analysis on the soundtrack, or
mise-en-bande. Constructing its methodology from
concepts originating in...