By Mette Hjort, Ursula Lindqvist
A spouse to Nordic Cinema provides a suite of unique essays that discover one of many world’s oldest nearby cinemas from its origins to the current day.
- Offers a accomplished, 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 international locations, the us, Canada, Scotland, and Hong Kong
- Covers quite a lot of subject matters at the detailed 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 insurance of such themes as Dogme ninety five, the avant-garde filmmaking stream 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 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 construction, 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
But already in the first cinema laws in Denmark, passed between 1933 and 1938, a combination of taxes and regulations were installed to ensure cultural diversity and to preserve the national film culture. As a small national film culture, Danish film culture was of course vulnerable to foreign compe tition, especially from the US, the UK, and other large European c inema cultures. Until the late 1950s, Danish film culture was actually doing quite well—although only on a national basis, with Carl Th.
At work here, then, is a very strong principle, at both the national and European levels of film policy, against cultural homogenization. This principle is one that Zentropa, among others, has taken to a new transnational level. But since 2007 the national strategy in Danish film policy has been taken to a transnational level. This is reflected not only in the changed concept of what constitutes a Danish film, but also in very concrete initiatives for co‐production, including minor co‐productions, and a much intensified effort to put Danish film in general on the global map.
And in the years to come this strategy would prove very successful, as Denmark was able to collect a very large share of Nordic and European co‐production monies. The national investment paid off, not just at home, but also abroad. The film and television production sector in Denmark was clearly transnationalized from around 2000 and this underlines the fact that a national cultural policy can develop in a transnational context. Behind this clear transnationalization of Danish film and the expansion of a more global film economy with a basis in a public, national funding system, we also find a change in the concept and understanding of what constitutes a Danish film.
A Companion to Nordic Cinema by Mette Hjort, Ursula Lindqvist