In Lars von Trier’s film “Nymphomaniac” (2013), the viewer is confronted with pornographic scenes that are unusual in conventional feature films. These scenes can be understood as artistic means, as they have certain functions in the concept of the film: they break the flow of reception. For pornographic representations are characterised by the fact that they generate physical and affective emotions in the viewer. These emotions have a direct effect on the attitude of reception and reduce the distance between the viewer and the object. If the distance to the (art) object represents a demand of modern bourgeois aesthetics, since it becomes a condition for rational reflection on the object, von Trier breaks with this demand and consequently with aesthetically traditional concepts.