By Mette Hjort, Ursula Lindqvist
A better half to Nordic Cinema offers a set of unique essays that discover one of many world’s oldest local cinemas from its origins to the current day.
- Offers a finished, transnational and neighborhood account of Nordic cinema from its origins to the current day
- Features unique contributions from greater than dozen foreign movie students dependent within the Nordic nations, the us, Canada, Scotland, and Hong Kong
- Covers a variety of themes at the designated evolution of Nordic cinema together with the silent Golden Age, Nordic movie coverage types 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 flow all started by way 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 corresponding to 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 construction, the rising culture of Icelandic cinema, the altering dynamics of Scandinavian porn, and plenty of more
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Additional resources for A Companion to Nordic Cinema
Trier is certainly embraced by some parts of the inde pendent American film culture, and Dancer in the Dark was nominated for an Oscar. But Bier was the one who was invited to direct her first American film, Things We Lost in the Fire (2007), a low budget film (estimated $16 million), even compared with normal American independent standards. 759 Source: Lumiere Database. making it a reasonable American independent success. com, accessed July 17, 2013). In 2010 this trend culminated with her winning not just an Oscar, but also a Golden Globe for In a Better World.
At the same time, it is also a matter, through the four chapters, of jointly offering a diachronic perspective that points to the ways in which key policies at the national level have changed over time. Especially important is the task of showing how various pan‐ Nordic as well as European Union initiatives have come to define many of the constraints and opportunities that film practitioners, not least film producers, take into account as structuring institutional frameworks as they go about their art, business, and craft.
Zentropa has been a key player in Denmark in this European development, and the majority of the successful, transnational Danish films after 2000 have been produced by Zentropa through different forms of international collaboration. Finney describes Zentropa as “an enigma” in comparison to the normal, com mercial film production company (Finney 2010, 80) and certainly Zentropa’s lead director and co‐owner Lars von Trier is an enigmatic director, just as the other owner, Peter Aalbæk Jensen, is known for his very creative form of leadership and way of communicating with the public and the media.
A Companion to Nordic Cinema by Mette Hjort, Ursula Lindqvist