By Mette Hjort, Ursula Lindqvist
A significant other 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 complete, transnational and neighborhood account of Nordic cinema from its origins to the current day
- Features unique contributions from greater than dozen foreign movie students established within the Nordic international locations, the USA, Canada, Scotland, and Hong Kong
- Covers a variety of issues at the unique evolution of Nordic cinema together with the silent Golden Age, Nordic movie coverage types and their impression, audiences and cinephilia, Nordic movie education, and indigenous Sámi cinema.
- Considers Nordic cinema’s engagement with worldwide audiences via insurance of such subject matters as Dogme ninety five, the avant-garde filmmaking flow 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 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
2011. A Small Region in a Global World. Patterns in Scandinavian Film and Media Culture. Copenhagen: CEMES Working Papers, no. 1/ European Think Tank on Film and Film Policy. Bondebjerg, Ib, and Eva Novrup Redvall. 2015. “Breaking Borders. ” In European Cinema and Television: Cultural Policy and Everyday Life, edited by Ib Bondebjerg, Eva Novrup Redvall, and Andrew Higson, 214–238. Basingstoke: Palgrave Macmillan. Danish Cinema Act. 1964. ”Lov nr. 155 af 27. Maj. 1964. ” Accessed December 30, 2014.
The challenge in the Nordic case is to reflect some of the synchronic differences, for the countries in question are by no means interchangeable, and policy density is more obviously present in some cases than others. At the same time, it is also a matter, through the four chapters, of jointly offering a diachronic perspective that points to the ways in which key policies at the national level have changed over time. Especially important is the task of showing how various pan‐ Nordic as well as European Union initiatives have come to define many of the constraints and opportunities that film practitioners, not least film producers, take into account as structuring institutional frameworks as they go about their art, business, and craft.
A Strong Position for the Global Marketing of Denmark” (Dansk film. En styrkeposition for den globale markedsføring af Danmark, DFI 2010a). In the second report on film as a part of a global marketing and branding of Denmark we see a clear national parallel to the EU policies for creative media indus tries, a strategy clearly based on the fact that cultural industries as such are now considered an important part of the modern, global economy. The report (DFI 2010a, 7) specifically talks about the integration of culture and industrial policy and about using film as part of a branding of Denmark as a creative and innovative nation.