By Mette Hjort, Ursula Lindqvist
A significant other to Nordic Cinema provides a suite of unique essays that discover one of many world’s oldest neighborhood cinemas from its origins to the current day.
- Offers a accomplished, transnational and local account of Nordic cinema from its origins to the current day
- Features unique contributions from greater than dozen foreign movie students established within the Nordic nations, the us, Canada, Scotland, and Hong Kong
- Covers a variety of issues at the detailed evolution of Nordic cinema together with the silent Golden Age, Nordic movie coverage versions and their effect, audiences and cinephilia, Nordic movie education, and indigenous Sámi cinema.
- Considers Nordic cinema’s engagement with international audiences via assurance of such subject matters as Dogme ninety five, the avant-garde filmmaking circulate began 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 world 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
In Claire Thomson’s chapter, devoted to Dansk Kulturfilm, what is made clear is the extent to which policy making and institution building in the North is anything but an enclosed, internal process, German, Italian, and British contexts having provided important reference points in this particular case. That the Nordic region is porous in ways that are well worth exploring is a central claim in Nis Grøn’s chapter. Exploring policy making through Nordic knowledge transfer, Grøn looks at partnerships between Denmark and Bhutan that build on a synergy of values and are designed to yield capacity building, and a film policy that is fit for purpose, in the context of the Himalayan kingdom.
256 Source: Lumiere Database. have sold almost 16 million cinema tickets worldwide, an average per film of nearly 2 million. 2 This profile is similar to other Scandinavian art cinema directors, such as Norwegian Bent Hamer or Swedish Roy Andersson (see Bondebjerg and Redvall 2011, 87ff ). There is no doubt that co‐producing has a certain transnational effect. Among the Scandinavian countries, Sweden, the most stable co‐production partner for Lars von Trier, is also the country where most people see his films, and the same goes for Germany and France.
In an interview in 2000 Susanne Bier expressed her cosmopolitan attitude and openness in the following way: I am very sceptical of the kind of new nationalism that insists that we must protect eveything Danish. I don’t think Danish culture is in any way threatened. Cultures have to be strong enough to resist an encounter with other cultures. If they aren’t, then there’s no reason to sustain them. I am convinced that whatever is worth preserving in Danish culture easily can accommodate a significant degree of inspiration from, and interaction with, lots of other cultures (Bier in Hjort and Bondebjerg 2000, 243).