By Mette Hjort, Ursula Lindqvist

A better half to Nordic Cinema offers a set of unique essays that discover one of many world’s oldest local cinemas from its origins to the current day.

  • Offers a complete, transnational and nearby 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 nations, the U.S., Canada, Scotland, and Hong Kong
  • Covers a variety of issues at the precise 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 started through 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 comparable 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 lots of more

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Extra resources for A Companion to Nordic Cinema

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2013. ” In The Education of the Filmmaker in Africa, the Middle East, and the Americas, edited by Mette Hjort, 59–78. New York: Palgrave Macmillan. Trice, Jasmine, forthcoming. City of Screens. 1 Regional and Global Dimensions of Danish Film Culture and Film Policy Ib Bondebjerg Globalization is not a new phenomenon, for globalization and cultural interaction are a precondition for modern societies and culture. But the awareness of such inter­ connections and the strategic political responses to them have changed over time.

256 Source: Lumiere Database. have sold almost 16 million cinema tickets worldwide, an average per film of nearly 2 million. 2 This profile is similar to other Scandinavian art cinema directors, such as Norwegian Bent Hamer or Swedish Roy Andersson (see Bondebjerg and Redvall 2011, 87ff ). There is no doubt that co‐producing has a certain transnational effect. Among the Scandinavian countries, Sweden, the most stable co‐production partner for Lars von Trier, is also the country where most people see his films, and the same goes for Germany and France.

Cultures have to be strong enough to resist an encounter with other cultures. If they aren’t, then there’s no reason to sustain them. I am convinced that whatever is worth preserving in Danish culture easily can accommodate a significant degree of inspiration from, and interaction with, lots of other cultures (Bier in Hjort and Bondebjerg 2000, 243). There is a strong cosmopolitan and universal dimension in both Bier’s and Trier’s latest films, but they are also rooted in more concrete spaces of everyday life.

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