By Mette Hjort, Ursula Lindqvist
A better half to Nordic Cinema provides a set of unique essays that discover one of many world’s oldest neighborhood cinemas from its origins to the current day.
- Offers a entire, transnational and nearby account of Nordic cinema from its origins to the current day
- Features unique contributions from greater than dozen overseas movie students dependent within the Nordic nations, the us, Canada, Scotland, and Hong Kong
- Covers quite a lot of issues at the certain evolution of Nordic cinema together with the silent Golden Age, Nordic movie coverage versions and their impact, audiences and cinephilia, Nordic movie education, and indigenous Sámi cinema.
- Considers Nordic cinema’s engagement with international audiences via assurance of such themes as Dogme ninety five, the avant-garde filmmaking circulation all started by means of Danish administrators Lars von Trier and Thomas Vinterberg, and the worldwide advertising and distribution of Nordic horror and Nordic noir
- Offers clean investigations of the paintings of worldwide auteurs reminiscent of Carl Th. Dreyer, Ingmar Bergman, Lars von Trier, Aki Kaurismäki, and Roy Andersson.
- Includes essays on Danish and Swedish tv dramas, Finland’s eco-documentary movie creation, the rising culture of Icelandic cinema, the altering dynamics of Scandinavian porn, and lots of more
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Additional info for A Companion to Nordic Cinema
But Zentropa has managed to keep the creative dynamic in their many and very diverse films and film cultural initiatives. They have been able to recruit some of the most powerful names in Danish cinema. This is a sign of the strength and flexibility of the Danish film policy and film funding system and of the system being quite open to transnational collaboration. So even though Zentropa is known for taking creative risks, for experimenting, and also for running into serious economic difficulties, the company also embodies the creative strength of a transnational company operating successfully with a small nation‐state perspective.
The report also discusses the difference between high concept films and auteur/art house films, and concludes that Danish films so far have gained their international success mainly through art house films. This is not least underlined by the fact that 80 percent of the Danish films with an international distribution until around 2010 were distributed by TrustNordisk and all under the category “art house films” (Ibid. 18). 1, a rather clear picture appears, at least when we look at cinema figures.
Bier has developed a double narrative strategy in In a Better World, Brothers, and After the Wedding, a strategy where global problems are reflected and mirrored in a local, national universe. Poverty and human tragedy in underdeveloped parts of the world and the tragedies behind our engagement in wars abroad are connected to social and psychological conflicts in our Western world. In In a Better World vio lence, revenge, terror, and human failure are not just part of a distant reality, but enter the idyllic context of a more provincial Danish life.
A Companion to Nordic Cinema by Mette Hjort, Ursula Lindqvist