By Mette Hjort, Ursula Lindqvist
A spouse 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 finished, transnational and nearby account of Nordic cinema from its origins to the current day
- Features unique contributions from greater than dozen overseas movie students established within the Nordic international locations, the USA, Canada, Scotland, and Hong Kong
- Covers quite a lot of themes at the unique 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 worldwide audiences via assurance of such issues as Dogme ninety five, the avant-garde filmmaking flow began 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 world auteurs comparable 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
Lov nr. 155 af 27. Maj 1964, § 18). Close scrutiny of this act quickly reveals that it was passed before the period of globalization, since it does not define what is meant by “promoting film art in Denmark” (§17. 1) or by “a Danish film” (mentioned several times). One can only assume that these terms were seen as self‐evident and thus as requiring no definitions. A new international horizon is on the other hand visible in the report Biograf bevillingssystemet/Report on the system on cinema funding (Report no.
In Denmark” shall lapse if they prove to be in conflict with international agreements, for instance in the European Union. The DFI has published four action plans (Handlingsplan) since 1999, stating its visions and goals for a new period. These plans and visions expressed by the DFI have then been part of the political negotiations for a new four‐year film agreement (Filmaftale), with the Ministry of Culture specifying goals to be achieved in specific 24 Ib Bondebjerg areas. The first film agreement ran from 1999 to 2002, the second from 2003 to 2006, and the third from 2007 to 2010.
181 0 Rest of Europe US/Canada 28 Ib Bondebjerg seems to be about auteur brands, genres, themes and stories, but most certainly also about establishing effective co‐production and co‐distribution networks, at times with the help of prizes and festival networks. 1 Together the DFI and the film production companies have clearly intensified the work of establishing international film networks over the last decade or so. To this one might add that the relative success of international Danish festivals, CPH:PIX for mostly feature films and CPH:DOX for documentary films, has also contributed to the international brand value of Danish film.
A Companion to Nordic Cinema by Mette Hjort, Ursula Lindqvist