A Companion to Nordic Cinema by Mette Hjort, Ursula Lindqvist

By Mette Hjort, Ursula Lindqvist

A spouse 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.

  • Offers a accomplished, transnational and nearby 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 nations, the U.S., Canada, Scotland, and Hong Kong
  • Covers a variety of subject matters at the certain evolution of Nordic cinema together with the silent Golden Age, Nordic movie coverage versions and their impact, audiences and cinephilia, Nordic movie education, and indigenous Sámi cinema.
  • Considers Nordic cinema’s engagement with worldwide audiences via assurance of such subject matters as Dogme ninety five, the avant-garde filmmaking circulate began via 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 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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Regional and Global Dimensions of Danish Film Culture and Film Policy 31 In 2009, the then chief financial director of Zentropa explained the transna­ tional strategy of the company as follows: We want to conquer the world in our own quiet way. With timely care and com­ mon sense. It costs a lot of money to set up operations in every country. It’s our plan, within three or five years, to be fully represented with operating companies in the old Western Europe. And it’s not unlikely either, that we will be making films in the US within a similar time frame … To comply with national and inter­ national regulations for receiving subsidies, we have been keeping offices in several countries.

Copenhagen: Danish Film Institute. DFI. 2010a. Dansk Film. En styrkeposition for den globale markedsføring af Danmark. Copenhagen: Danish Film Institute. DFI. 2010b. Sæt filmen fri. Oplæg til filmaftale 2011‐2014. Copenhagen: Danish Film Institute. DFI. 2011. Filmaftalen 2011–2014. Copenhagen: Danish Film Institute. Accessed December 30, 2014. aspx European Commission. 2011. Creative Europe. A New Framework Programme for the Cultural and Creative Sector.

Lov nr. 186 af 12. Marts 1997. ” Accessed December 30, 2014. dk/english/Services/Legislation/Film/The‐Film‐Act/. DFI. 1999. Det Danske Filminstitut. En institution og et hus for levende billeder. Handlingsplan 1999–2002. Copenhagen: Danish Film Institute. DFI. 1999a. Resultatkontrakt 1999–2002. Copenhagen: Danish Film Institute. Accessed December 30, 2014. aspx. DFI. 2003. Handlingsplan 2003–2006. Copenhagen: Danish Film Institute. Accessed December 30, 2014. aspx. DFI. 2006. Nye mål: udfordringer og perspektiver for dansk film 2007–2010.

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