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Following the two previous volumes in this series of practitioner
interviews with Danish directors, "Danish Directors 3" focuses on
Danish documentary cinema. Although many of the directors
interviewed here have ventured successfully into the terrain of
fiction, their main contributions to the thriving post-80s milieu
lie in the interconnected areas of documentary film and television.
Emphasizing the new documentary cinema, this book features
filmmakers who belong to the generation born in the 1970s. Many of
the interviewees were trained at the National Film School of
Denmark's now legendary Department of Documentary and Television.
The term "new" also captures tendencies that cut across the work of
the filmmakers. For example, for the generation in question,
internationalization and the development of a new digital media
culture are inevitable aspects of everyday life, and, indeed, of
the professional environments in which they operate. A
comprehensive overview of documentary directors currently working
in Denmark, this is the only book of its kind about this growing
area of Danish cinema.
Ideas of national identity, nationalism and transnationalism are now a central feature of contemporary film studies, as well as primary concerns for film-makers themselves. Embracing a range of national cinemas including Scotland, Poland, France, Turkey, Indonesia, India, Germany and America, Cinema and Nation considers the ways in which film production and reception are shaped by ideas of national belonging and examines the implications of globalisation for the concept of national cinema. In the first three Parts, contributors explore sociological approaches to nationalism, challenge the established definitions of 'national cinema', and consider the ways in which states - from the old Soviet Union to contemporary Scotland - aim to create a national culture through cinema. The final two Parts address the diverse strategies involved in the production of national cinema and consider how images of the nation are used and understood by audiences both at home and abroad.
In Cinema and Nation leading film scholars, philosophers and sociologists consider ways in which film production and reception are shaped by ideas of national identity and belonging. The contributors discuss a wide range of cinemas, in Europe, Asia and the Americas, exploring the relationship between film policy and film cultures, and examining the implications of globalization and the reconfiguration of nation states for both the concept and the reality of national cinema. The sections cover: Sociological approaches to national identity * preconceptions about 'national' cinema * nation states efforts to create national culture through cinema * productions strategies of national cinema * readings by audiences both at home and abroad.
Bringing theory and practice together, African Cinema and Human
Rights argues that moving images have a significant role to play in
advancing the causes of justice and fairness. The contributors to
this volume identify three key ways in which film can achieve these
goals: documenting human rights abuses and thereby supporting the
claims of victims and goals of truth and reconciliation within
larger communities; legitimating, and consequently solidifying, an
expanded scope for human rights; and promoting the realization of
social and economic rights. Including the voices of African
scholars, scholar-filmmakers, African directors Jean-Marie Teno and
Gaston Kabore, and researchers whose work focuses on transnational
cinema, this volume explores overall perspectives, and differences
of perspective, pertaining to Africa, human rights, and human
rights filmmaking alongside specific case studies of individual
films and areas of human rights violations. With its
interdisciplinary scope, attention to practitioners'
self-understandings, broad perspectives, and particular case
studies, African Cinema and Human Rights is a foundational text
that offers questions, reflections, and evidence that help us to
consider film's ideal role within the context of our
ever-continuing struggle towards a more just global society.
Profiling the canonized figures alongside recently-established
filmmakers, this collection features interviews with Lars von
Trier, Soren Kragh-Jacobsen, Thomas Vinterberg and Henning Carlsen
among many others. It poses questions that engage with ongoing and
controversial issues within film studies, which will stimulate
debate in academic and filmgoing circles alike. Each interview is
preceded by a photograph of the director, biographical information,
and a filmography. Frame enlargements are used throughout to help
clarify particular points of discussion and the book as a whole is
contextualised by an informative general introduction. A valuable
addition to the growing library of books on Scandinavian film,
national cinema and minority cinema.
Within cinema studies there has emerged a significant body of
scholarship on the idea of 'National Cinema' but there has been a
tendency to focus on the major national cinemas. Less developed
within this field is the analysis of what we might term minor or
small national cinemas, despite the increasing significance of
these small entities with the international domain of moving image
production, distribution and consumption. The Cinema of Small
Nations is the first major analysis of small national cinemas,
comprising twelve case studies of small national - and sub national
- cinemas from around the world, including Ireland, Denmark,
Iceland, Scotland, Bulgaria, Tunisia, Burkina Faso, Cuba,
Singapore, Taiwan, Hong Kong and New Zealand. Written by an array
of distinguished and emerging scholars, each of the case studies
provides a detailed analysis of the particular cinema in question,
with an emphasis on the last decade, considering both institutional
and textual issues relevant to the national dimension of each
cinema. While each chapter contains an in-depth analysis of the
particular cinema in question, the book as a whole provides the
basis for a broader and more properly comparative understanding of
small or minor national cinemas, particularly with regard to
structural constraints and possibilities, the impact of
globalization and internationalisation, and the role played by
economic and cultural factors in small-nation contexts. Key
features: * the first major study of a range of small national
cinemas * detailed and informative studies of particular small
national cinemas from around the globe * an implicit comparative
element that reveals major similarities and differences across the
case studies * a strong line up of international contributors
including a number of major internationally recognised experts in
the field * written in an accessible style to appeal to students,
academics and the general reader alike.
Bringing theory and practice together, African Cinema and Human
Rights argues that moving images have a significant role to play in
advancing the causes of justice and fairness. The contributors to
this volume identify three key ways in which film can achieve these
goals: documenting human rights abuses and thereby supporting the
claims of victims and goals of truth and reconciliation within
larger communities; legitimating, and consequently solidifying, an
expanded scope for human rights; and promoting the realization of
social and economic rights. Including the voices of African
scholars, scholar-filmmakers, African directors Jean-Marie Teno and
Gaston Kabore, and researchers whose work focuses on transnational
cinema, this volume explores overall perspectives, and differences
of perspective, pertaining to Africa, human rights, and human
rights filmmaking alongside specific case studies of individual
films and areas of human rights violations. With its
interdisciplinary scope, attention to practitioners'
self-understandings, broad perspectives, and particular case
studies, African Cinema and Human Rights is a foundational text
that offers questions, reflections, and evidence that help us to
consider film's ideal role within the context of our
ever-continuing struggle towards a more just global society.
Lone Scherfig was the first of a number of women directors to take
up the challenge of Dogme, the back-to-basics, manifesto-based,
rule-governed, and now globalized film initiative introduced by
Danish filmmakers Lars von Trier and Thomas Vinterberg in 1995.
Entitled Italiensk for begyndere (Italian for Beginners),
Scherfig's Dogme film transformed this already accomplished
filmmaker into one of Europe's most noteworthy women directors.
Danish and international critics lavished praise on Scherfig and
her film, and their reactions harmonized with those of festival
juries. Battered by life, but by no means defeated or destroyed,
the characters in Italian for Beginners are all in touch at some
deep intuitive level with the truth that is the film's basic
message: that happiness and a sense of self-worth are sustained by
love--whether romantic love or that of a community of like-minded
people. The film struck an important chord with viewers precisely
because it took Dogme in a new direction, one that reflects
Scherfig's sensibilities and preferences as a woman. The book
includes the Dogme manifesto and draws on interviews with the
filmmaker as well as with the cast and crew. Watch the book
trailer: https://www.youtube.com/watch?v=gk7SGfrIHGA
The phenomenon of risk has been seriously neglected in connection
with the study of film, yet many of those who write about film seem
to have intuitions about how various forms of risk-taking shape
aspects of the filmmaking or film-viewing process. Film and Risk
fills this gap as editor Mette Hjort and interdisciplinary
contributors discuss film's relation to all types of risk. Bringing
together scholars from philosophy, anthropology, film studies,
economics, and cultural studies, as well as experts from the fields
of law, filmmaking, and photojournalism, this volume discusses risk
from multiple intriguing angles. In thirteen chapters, contributors
consider concrete risks (e.g., stunts or financial decisions);
theoretical aesthetic and artistic risks (e.g., filmmakers who
incorporate excessive hazards into their films); and the real-world
jeopardy spectators might put themselves in when viewing films. The
first three chapters tackle the conceptual terrain that is relevant
to understanding risk in film. The next three chapters focus on
risk as it pertains to the practice of filmmaking. Subsequent
chapters deal with economic risk and the role that risk has in the
development of film's institutional landscape. The scholarship in
this collection is impressive, boasting some of the top writers in
their respective fields. Through the contributors' clear and
thorough discussions, this cohesive but diverse collection shows
that risk arises in many different areas that tend to be thought of
as central to film studies. Scholars of film studies will
appreciate this daring and inventive collection, and readers with a
general interest in film studies will enjoy its accessible style.
Lone Scherfig was the first of a number of women directors to take
up the challenge of Dogme, the back-to-basics, manifesto-based,
rule-governed, and now globalized film initiative introduced by
Danish filmmakers Lars von Trier and Thomas Vinterberg in 1995.
Entitled Italiensk for begyndere (Italian for Beginners),
Scherfig's Dogme film transformed this already accomplished
filmmaker into one of Europe's most noteworthy women directors.
Danish and international critics lavished praise on Scherfig and
her film, and their reactions harmonized with those of festival
juries. Battered by life, but by no means defeated or destroyed,
the characters in Italian for Beginners are all in touch at some
deep intuitive level with the truth that is the film's basic
message: that happiness and a sense of self-worth are sustained by
loveby romantic love, to be sure, but also by inclusion in a
community of like-minded people. The book includes the Dogme
manifesto and interviews with the filmmaker as well as with the
cast and crew.
How do we define culture? To what uses should our concept of
culture be put? What costs and benefits do these uses entail? Adam
Muller brings together a diverse group of emerging and established
scholars to probe the nature of the concept of culture while
shedding light on its many different applications and contexts of
use. In particular, they examine the assumed unity of culture and
with arguments being made for and against over discussions of
popular culture, film, globalization, sport, aesthetics, and human
values. This volume brings together a variety of perspectives to
add much-needed substance to our understanding of the history and
politics of culture. Rigorous and interdisciplinary, Concepts of
Culture secures a place for analytic philosophy, humanism, and
liberal political theory in the ongoing discussion of exactly what
culture is and how culture works.
The audacious, attention-grabbing, tongue-in-cheek filmmaker's
manifesto that was Dogme 95 has had a massive international impact.
Coinciding with the arrival of cut-price digital technology, the
aesthetic creed proposed by Thomas Vinterberg ("Festen") and Lars
von Trier ("The Idiots") has resonated with young and indie
filmmakers in all continents and been credited with a revival of
radical back-to-basics guerrilla-style filmmaking. Many argue it
has changed the critical terms in which art and popular cinema are
discussed and that it has had an impact on a much wider range of
contemporary arts from dance to computer games.
This new book brings together leading scholars from a number of
disciplines--film studies, literature, philosophy--in order to
focus on some of the keyhistorical and conceptual issues associated
with the manifesto's original formulation. In addition to
identifying many of the epistemological and aesthetic puzzles to
which Dogme 95 gives rise, the book looks at the relationships
posited between the avant-garde and popular cinema, the role of
"minor cinemas" in a world dominated by Hollywood, and the history
and future of art-cinema as a means of cultural exchange between
national cinemas.
Although literary theories describe a world of strategies-textual,
discursive, interpretive, and political-what is missing is the
strategist. Poststructuralists try to explain agency as the effect
of large-scale systems or formations; as a result, intuitions about
individual action and responsibility are expressed in terms of
impersonal strategies. Mette Hjort's book responds to this
situation by proposing an alternative account of strategic action,
one that brings the strategist back into the picture. Hjort
analyzes influential statements made by Derrida, Foucault, and
others to show how proposed conceptions of strategy are
contradictory, underdeveloped, and at odds with the actual use of
the term. Why, then, has the term acquired such rhetorical force?
Since "strategy" evokes conflict, Hjort suggests, its very use
calls into question various pieties of idealism and humanism, and
emphasizes a desired break between modernism and postmodernism. It
follows that a theory of strategy must explore some of the
psychological implications of conflict, and Hjort pursues these
implications through traditions as diverse as game theory,
discourse ethics, and the philosophy of war. Unstable frames, self
deception, promiscuous pragmatism, and social emotion are some of
the phenomena she explores as she develops her account of strategic
action in the highly competitive domain of letters. In her
reflection on strategy, Hjort draws on such literary examples as
Troilus and Cressida, Tartuffe, the autobiographical writings of
Holberg, and early modern French and English treatises on theater.
For its well-informed and incisive arguments and literary
historical case studies, this book will be invaluable to literary
theorists and will appeal to readers interested in drama,
philosophy and literature, aesthetics, and theories of agency and
rationality.
Within cinema studies there has emerged a significant body of
scholarship on the idea of 'National Cinema' but there has been a
tendency to focus on the major national cinemas. Less developed
within this field is the analysis of what we might term minor or
small national cinemas, despite the increasing significance of
these small entities with the international domain of moving image
production, distribution and consumption. The Cinema of Small
Nations is the first major analysis of small national cinemas,
comprising twelve case studies of small national - and sub national
- cinemas from around the world, including Ireland, Denmark,
Iceland, Scotland, Bulgaria, Tunisia, Burkina Faso, Cuba,
Singapore, Taiwan, Hong Kong and New Zealand. Written by an array
of distinguished and emerging scholars, each of the case studies
provides a detailed analysis of the particular cinema in question,
with an emphasis on the last decade, considering both institutional
and textual issues relevant to the national dimension of each
cinema. While each chapter contains an in-depth analysis of the
particular cinema in question, the book as a whole provides the
basis for a broader and more properly comparative understanding of
small or minor national cinemas, particularly with regard to
structural constraints and possibilities, the impact of
globalization and internationalisation, and the role played by
economic and cultural factors in small-nation contexts. Key
features: * the first major study of a range of small national
cinemas * detailed and informative studies of particular small
national cinemas from around the globe * an implicit comparative
element that reveals major similarities and differences across the
case studies * a strong line up of international contributors
including a number of major internationally recognised experts in
the field * written in an accessible style to appeal to students,
academics and the general reader alike.
"Small Nation, Global Cinema" engages the effects of globalization
from the perspective of small nations. Focusing her study on the
specific cultural context of the international film market, Mette
Hjort argues that the New Danish Cinema presents an opportunity to
understand the effects of globalization within the culture and
economy of a privileged small nation.
Hjort offers two key strategies underwriting the transformation and
globalization of contemporary Danish cinema--the processes of
cultural circulation and the psychological efficacy of heritage.
Exploring the Dogma 95 movement initiated by Lars von Trier and
Thomas Vinterberg as well as films by Erik Clausen, Gabriel Axel,
Henning Carlsen, and Ole Bornedal, among others, Hjort examines
means for cinematic globalization specific to Denmark, but then
evolves her investigation into a truly comparative framework
encompassing references to Hong Kong, Latin America, and Hollywood
filmmaking. Providing a fresh way of looking at cultural influence
in the era of globalization, Hjort's concept of "small" nation
points as much to the dynamics of recognition, indifference, and
participation as it does to more common measures of population
size, economic strength, or linguistic reach.
Mette Hjort is professor of intercultural studies at Aalborg
University.
This collection of new essays addresses emotion in relation to the arts. The essays consider such topics as the paradox of fiction, emotion in the pure and abstract arts, and the rationality and ethics of emotional responses to art.
"Small Nation, Global Cinema" engages the effects of globalization
from the perspective of small nations. Focusing her study on the
specific cultural context of the international film market, Mette
Hjort argues that the New Danish Cinema presents an opportunity to
understand the effects of globalization within the culture and
economy of a privileged small nation.
Hjort offers two key strategies underwriting the transformation and
globalization of contemporary Danish cinema--the processes of
cultural circulation and the psychological efficacy of heritage.
Exploring the Dogma 95 movement initiated by Lars von Trier and
Thomas Vinterberg as well as films by Erik Clausen, Gabriel Axel,
Henning Carlsen, and Ole Bornedal, among others, Hjort examines
means for cinematic globalization specific to Denmark, but then
evolves her investigation into a truly comparative framework
encompassing references to Hong Kong, Latin America, and Hollywood
filmmaking. Providing a fresh way of looking at cultural influence
in the era of globalization, Hjort's concept of "small" nation
points as much to the dynamics of recognition, indifference, and
participation as it does to more common measures of population
size, economic strength, or linguistic reach.
Mette Hjort is professor of intercultural studies at Aalborg
University.
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