By Mette Hjort, Ursula Lindqvist
A spouse to Nordic Cinema provides a set of unique essays that discover one of many world’s oldest nearby cinemas from its origins to the current day.
- Offers a entire, transnational and local 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 quite a lot of themes at the specified 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 issues as Dogme ninety five, the avant-garde filmmaking stream began via 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 creation, the rising culture of Icelandic cinema, the altering dynamics of Scandinavian porn, and lots of more
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Additional resources for A Companion to Nordic Cinema
Trier’s films thus reflect the very core of Zentropa’s strategy, which is not only to conquer the world, as 32 Ib Bondebjerg the financial director puts it, but in fact to maintain, sustain, and develop a space for independent filmmaking and artistic diversity in a world with very dominant and big players. The many initiatives at Zentropa (Dogme 95, Dogumentary, The Film Town in Avedøre, The Film Factory—aiming at young talent) point to the company’s national and international profile as the unconventional film rebel—a position very much taken by Trier himself as a European director.
582 1970), which was part of the preparations leading to a radically new film act, passed in 1972. In the 1970 report, arguing for the liberalization of the cinema market, a comparative analysis of international cinema systems is included. In the 1972 film act that established the Danish Film Institute as the central body for feature film support (with the Danish Film Museum and the National Film Board of Denmark [focusing on documentary films] as separate bodies), the preamble still makes reference to support for film culture in Denmark.
Dk/english/Services/Legislation/Film/The‐Film‐Act/. DFI. 1999. Det Danske Filminstitut. En institution og et hus for levende billeder. Handlingsplan 1999–2002. Copenhagen: Danish Film Institute. DFI. 1999a. Resultatkontrakt 1999–2002. Copenhagen: Danish Film Institute. Accessed December 30, 2014. aspx. DFI. 2003. Handlingsplan 2003–2006. Copenhagen: Danish Film Institute. Accessed December 30, 2014. aspx. DFI. 2006. Nye mål: udfordringer og perspektiver for dansk film 2007–2010. Copenhagen: Danish Film Institute.