By Mette Hjort, Ursula Lindqvist
A significant other to Nordic Cinema offers 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 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 international locations, the USA, Canada, Scotland, and Hong Kong
- Covers a variety of themes at the specific evolution of Nordic cinema together with the silent Golden Age, Nordic movie coverage types 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 circulate began through 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 resembling 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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A better half to Nordic Cinema provides a set of unique essays that discover one of many world’s oldest local cinemas from its origins to the current day. bargains a entire, transnational and neighborhood account of Nordic cinema from its origins to the current day good points unique contributions from greater than dozen overseas movie students dependent within the Nordic nations, the USA, Canada, Scotland, and Hong Kong Covers quite a lot of issues at the specific evolution of Nordic cinema together with the silent Golden Age, Nordic movie coverage versions and their impression, audiences and cinephilia, Nordic movie education, and indigenous Sámi cinema.
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Extra resources for A Companion to Nordic Cinema
2). 2 demonstrate the importance of international distribution, also economically, for Danish and Scandinavian cinema. 2 million tickets are in fact sold in Europe, the US, and Canada. The European dimension of national films in Europe has been a case of concern for many years, and it still is, but at least the figures are improving. The US figures on the other hand are very poor, especially compared to the US figures in the EU. It might also be a little surprising, given the strong regional collaboration in Scandinavia, that the distribution between the Scandinavian countries is unimpressive.
In this sense the film has a very Danish reality to it and at the same time a very global dimension. Lars von Trier’s Melancholia, on the other hand, is a mythic and symbolic tale of the end of the world as we know it. The clash between the earth and another planet in the film is visually stunning and symbolically powerful, a global memento mori to us all, no matter where we live. The cast and language of the film are in many ways more international than Bier’s, yet at the same time, in the middle of this strangely symbolic, apocalyptic, and abstract tale, there is a psychological and social reality.
The report also discusses the difference between high concept films and auteur/art house films, and concludes that Danish films so far have gained their international success mainly through art house films. This is not least underlined by the fact that 80 percent of the Danish films with an international distribution until around 2010 were distributed by TrustNordisk and all under the category “art house films” (Ibid. 18). 1, a rather clear picture appears, at least when we look at cinema figures.
A Companion to Nordic Cinema by Mette Hjort, Ursula Lindqvist