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Inclusion in New Danish Cinema , livre ebook

Intellect Books - Meryl Shriver-Rice

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169 pages

English

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A propos
Informations
Extrait

Description

Often recognized as one of the happiest countries in the world, Denmark, like its Scandinavian neighbors, is known for its progressive culture, which is also reflected in its national cinema. It is not surprising, then, that Danish film boasts as many successful women film directors as men, uses scripts that are often cowritten by the director and the screenwriter, and produces one of the largest numbers of queer films directed by and starring women. Despite all this, Danish film is not widely written about, especially in English. Inclusion in New Danish Cinema brings this vibrant culture to English-language audiences. Meryl Shriver-Rice argues that Denmark has demonstrated that film can reinforce cultural ethics and political values while also navigating the ongoing and mounting forces of digital communication and globalization.

Introduction

Chapter 1: New Danish Cinema: An Overview

Current Trends in Scholarship

Remarkable Storytelling = Result of Remarkable Production Strategy

Marrying Digital Aesthetic with Ethical Boundaries and Cultural Values

Chapter 2: Dogme Beginnings

Dogme Rules: Style and Genre

Ethics and Morality in Dogme and New Danish Cinema

Reality Aesthetic and the ‘Always On’ Culture

Chapter 3: Practitioner’s Agency: Women Directors

Chapter 4: Heterosexual Relationships

Triangular Desire and Dialectical Identity

Family and Transnational Belonging

Gender and Agency

Chapter 5: Queer Relationships

Queer Subjectivity and New Danish Cinema

Performing Masculinity and Femininity

Stereotypes and Alternative Family Structures

Individualized Desire

Chapter 6: Adapting National Identity

Adapting the National: ‘Truth’ and Story in New Danish Cinema

Trauma, Existential Crisis and Blame

Adapting the National: The ‘Hollywoodization’ of Nordic Art Film

Chapter 7: In a Better World: Empathy and Ego

Transnational Belonging and Digital Communication

Solitude and Self-Reflection

Empathy and Ego

Sujets

Película fotográfica

General officer

Television

General

Radio

Film

Cinéma

Cinema

Informations

Publié par	Intellect Books
Date de parution	01 mai 2015
Nombre de lectures	0
EAN13	9781783202768
Langue	English

Informations légales : prix de location à la page 0,1900€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

First published in the UK in 2015 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2015 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2015 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the
British Library.
Cover designer: Todd James Hunter
Copy-editor: MPS Technologies
Production manager: Heather Gibson
Typesetting: Contentra Technologies
Print ISBN: 978-1-78320-193-8
ePDF ISBN: 978-1-78320-275-1
ePub ISBN: 978-1-78320-276-8
Printed and bound by Hobbs, UK
Supported by the Danish Film Institute
To Bedstemor, who in the end was from Denmark, not Iowa; and David, my Danish film fairy godfather
Contents
List of Figure
Acknowledgements
Introduction
Chapter 1: New Danish Cinema: An Overview
Current Trends in Scholarship
Remarkable Storytelling = Result of Remarkable Production Strategy
Marrying Digital Aesthetic with Ethical Boundaries and Cultural Values
Chapter 2: Dogme Beginnings
Dogme Rules: Style and Genre
Ethics and Morality in Dogme and New Danish Cinema
Reality Aesthetic and the ‘Always On’ Culture
Chapter 3: Practitioner’s Agency: Women Directors
Chapter 4 Heterosexual Relationships
Triangular Desire and Dialectical Identity
Family and Transnational Belonging
Gender and Agency
Chapter 5: Queer Relationships
Queer Subjectivity and New Danish Cinema
Performing Masculinity and Femininity
Stereotypes and Alternative Family Structures
Individualized Desire
Chapter 6: Adapting National Identity
Adapting the National: ‘Truth’ and Story in New Danish Cinema
Trauma, Existential Crisis and Blame
Adapting the National: The ‘Hollywoodization’ of Nordic Art Film
Chapter 7: In a Better World : Empathy and Ego
Transnational Belonging and Digital Communication
Solitude and Self-Reflection
Empathy and Ego
Bibliography
List of Figures
Chapter 2
Figure 1: Digital Camerawork ( Rachel Getting Married , Jonathan Demme, 2008)
Figure 2: Mumblecore’s low tech digital camera ( Hannah Takes the Stairs , Joe Swanberg, 2007
Figure 3: Roving camera presence in Dogme #1 ( The Celebration , Thomas Vinterberg, 1998)
Figure 4: Participant perspective shot, Dogme #1
Figure 5: Spectator as voyeuristic observer, Dogme #1
Figure 6: Official Dogme Certificate for Open Hearts , Susanne Bier, 2002
Figure 7: Paprika Steen realizes she has been betrayed in Open Hearts
Figure 8: Eye close-up ( Brothers , Susanne Bier, 2004)
Figure 9: Eye close-up ( After the Wedding , Susanne Bier, 2006)
Figure 10: A vignetted point of view shot, Brothers
Figure 11: Dialogue close-up ( Italian for Beginners , Lone Scherfig, 2000)
Figure 12: Character close-ups revealing minor psychological reactions in Italian for Beginners
Figure 13: Character close-up, Italian for Beginners
Figure 14: Bathroom scene ( Brothers , Susanne Bier, 2004)
Figure 15: Bathroom shot ( Chinaman , Henrik Ruben Genz, 2005)
Figure 16: Kitchen shot, Chinaman
Figure 17: Kitchen scene ( Brotherhood , Niccolo Donati, 2009)
Figure 18: Bedroom scene ( A Soap , Pernillle Fischer Christensen, 2006)
Figure 19: Kitchen shot, A Soap
Figure 20: Bedroom scene ( Wilbur Wants to Kill Himself , Lone Scherfig, 2002)
Figure 21: Bathroom scene, Wilbur Wants to Kill Himself
Figure 22: Niels (Mads Mikkelsen) and sons in hygge -inducing candlelight ( Open Hearts , Susanne Bier, 2002)
Figure 23: Niels and son discuss being gay
Figure 24: A sexist comment goes unquestioned at the dinner table, Open Hearts
Figure 25: Stine (Steen Bjerregaa26d) absorbs the dinner guest’s view of women, Open Hearts
Figure 26: Hal-Finn (Lars Kaa28und) teases Jørgen (Peter Gantzler) about impotency, Italian for Beginners
Figure 27: Jørgen registers sincere sadness, Italian for Beginners
Figure 28: Hal-Finn reacts to his friend’s sincerity, Italian for Beginners
Figure 29: Olympia (Annette Støvelbaek) reveals her personal flaws, Italian for Beginners
Figure 30: Andreas, head-cocked listens openly to Olympia’s insecurities (Anders W. Berthelsen), Italian for Beginners
Figure 31: Olympia reacts to Andreas’s kind humor, Italian for Beginners
Figure 32: Michael (Thomas Bo Larsen) rattles off his racist comments in The Celebration
Figure 33: Helene (Paprika Steen) kisses her boyfriend Gbatokai (Gbatokai Dakinah) in front of her racist brother, The Celebration
Figure 34: Christian (Ulrich Thomsen) is physically thrown out for revealing the truth, The Celebration
Figure 35: The formal dinner continues despite Christian’s revealing toast, The Celebration
Figure 36: Andreas the minister, Olympia and sister, Italian for Beginners
Chapter 3
Figure 37: Paprika Steen directing With Your Permission , 2007
Figure 38: Annette K. Olesen ( Skytten 2013, Little Soldier 2008, In Your Hands 2004, Minor Mishaps 2002)
Chapter 4
Figure 39: Wilbur (Jamie Sives) attempts (yet again) to kill himself with found household objects
Figure 40: Harbour (Adrian Rawlins) finds Wilbur in a pool of his own blood in another failed suicide attempt
Figure 41: Wilbur identifies with the museum lemmings
Figure 42: Wilbur and Harbour discuss their father’s will in the cemetery
Figure 43: Harbour insists to everyone that Wilbur rendered the beloved ornament
Figure 44: Wilbur cannot control his desire for Alice (Shirley Henderson)
Figure 45: Harbour tells Alice the story of Wilbur and mother in intimate darkness
Figure 46: Wilbur yells at Alice in the kitchen at Christmas
Figure 47: The single moment that Harbour loses his temper
Figure 48: Harbour takes up more of the frame as he reveals his last wishes
Figure 49: Harbour implies his wish that Wilbur should love Alice
Figure 50: Harbour and Wilbur at the cemetery at the opening of the film
Figure 51: Wilbur and family at the same cemetery at the close of the film
Figure 52: Chinese restaurant wedding cake where Wilbur is the penguin
Figure 53: Harbour commits suicide by overdosing on morphine pills
Figure 54: Adam shocks his brother, sister-in-law, and girlfriend by suggesting that he can fix things by sleeping with his sister-in-law ( Between Us , Laurits Munch Petersen, 2003)
Figure 55: A warm glow of sunshine fills the room in the closing frame of Between Us
Figure 56: Two brothers framed across the dinner table ( Brothers , Susanne Bier, 2004)
Figure 57: Close-up of brother and sister-in-law
Figure 58: Close-up of brother and wife
Figure 59: Doorframes delineate personal space in Chinaman (Henrik Ruben Genz, 2005)
Figure 60: A door frame locks the protagonists in shared space
Figure 61: The camera in a seated spectator’s position
Figure 62: Rie (Charlotte Fich) dismisses Keld (Bjarne Henriksen) in an empty frame with ‘Our marriage was a funeral’
Figure 63: Close-up of chandelier
Figure 64: The movement of the beaded doorway and sway of the chandelier are both associated with Ling (Vivian Wu)
Figure 65: Ling is seen through the ethereal presence of a bedroom curtain
Figure 66: Keld’s son demonstrates his superficial nature
Figure 67: Ling puts on a friendly demeanor to meet Keld’s son
Figure 68: Keld’s son rides off rudely in reaction to Ling’s appearance
Figure 69: Keld listens to Feng’s son
Figure 70: Feng’s son shares his struggle to live like an ethnic Dane
Figure 71: Keld’s warm and formal introduction to Feng’s wife
Figure 72: Keld receives a friendly welcoming by Feng’s son
Figure 73: Example of chapter intertitle with written phrases in both Chinese and Danish
Figure 74: Ling becomes more animated with Keld at the Chinese grocery
Figure 75: Keld is a voyeur on Ling’s formal daily routine
Figure 76: Close-up of the intimacy of food sharing
Figure 77: Close-up of Keld’s folded hands as he waits patiently
Figure 78: Keld’s Swedish friend at his ‘pro forma’ wedding
Figure 79: Keld and Ling sit in shared space sharing food as Ling learns Danish
Figure 80: Close-up of a tear running down Ling’s face on her wedding day
Figure 81: Keld personally returns Ling’s ashes to a river in China
Figure 82: Jacob (Mads Mikkelsen) and Pramod (Neeral Mulchandani) as father and son at the orphanage in After the Wedding (Susanne Bier, 2006)
Figure 83: Jacob and Helene (Sidse Babett Knudsen) sit outside Jørgen’s (Rolf Lassgård) countryside mansion
Figure 84: Danish flags trap Jacob as he walks away from his daughter’s wedding
Figure 85: ‘Foreign’ Danish urban space outside Jacob’s hotel room
Figure 86: Angled shots of the city outside Jacob’s hotel room
Figure 87: Jacob visits Pramod by means of his hotel television screen
Figure 88: Jacob is met with the visual reality of missing his daughter’s childhood
Figure 89: Jacob as the altruistic first world ex-patriot in India
Figure 90: Jørgen pits Jacob’s altruistic nature against his wealth
Figure 91: Close-up of the pain on Anna’s (Stine Fischer Christensen) face
Figure 92: Christian (Christian Tafdrup) does not care to investigate Anna’s new dual sense of cultural belonging
Figure 93: Pramod is placed higher in the frame to emphasize Jacob’s respect for his decision making capabilities
Figure 94: End credits of Bombay shanty village, After the Wedding
Figure 95: Nete’s (Paprika Steen) client pronounces her bossy
Figure 96: Nete’s disinterest in her boss’s attempt to assert control
Figure 97: Nete’s boss is humorously bewildered by Nete’s confident behavior
Figure 98: Kristian (Troels Lyby) lectures on midlife crisis
Figure 99: Medium shot of Nete and Kristian with cluttered mise-en-scène
Figure 100: Claustrophobic close-up of Nete
Figure 101: Kristian’s expression