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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 neighborhood 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 a variety of issues at the particular 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 themes as Dogme ninety five, the avant-garde filmmaking stream all started by means of Danish administrators Lars von Trier and Thomas Vinterberg, and the worldwide advertising and marketing and distribution of Nordic horror and Nordic noir
  • Offers clean investigations of the paintings of world auteurs akin 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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Extra info for A Companion to Nordic Cinema

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Thus, for example, a thread running through the policy histories of Nordic cinemas is various versions of the idea that film has a role to play in supporting the emerging conditions for, or actual pillars of, what we now know as the welfare state, a phenomenon that has long been constitutive of collective identities in the Nordic region. As the region embraces the inevitabilities of various kinds of globalization, and with neo‐liberal models, an ageing population, and other factors exerting pressure on the welfare state model, policy‐style discussions regarding the “usefulness” of film have less to do with the sorts of issues that Claire Thomson (this section) brings into focus through her account of Dansk Kulturfilm—film’s contribution, for example, to educating citizens about their rights and obligations or to the mediation of normative understandings of how best to live—and a lot more to do with the gains that are to be had from successful branding.

Lars von Trier’s many prizes in Cannes, Bier’s Oscar and Golden Globe for In a Better World in 2010, and Zentropa’s success with other films and directors, have been some of the important results of Zentropa’s strategy. The increased film political focus on international distribution and transnational co‐production at the Danish Film Institute (DFI) has also been an important driver of this development. The broader internationalization of Danish film and television culture has its background in a new film policy and a new institutional development involving both the national level, the Scandinavian level—for instance the role of Nordic Film and TV Fund (established in 1992)—and not least the European level.

16 Mette Hjort and Ursula Lindqvist bigger idea that film can and should be part of the public conversation through which a community defines and understands itself. The commitment is, in large measure, to film as authentic cultural expression that can serve as a vehicle for the manifestation, shaping, and sustaining of collective identities. A second belief driving trans‐generational thinking about film in the Nordic region is that film spectators are also citizens and that film is a means of engaging citizens with norms and values that are integral to the project of building what, at a given moment in time, counts as a good society.

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