No. 1
Gunhild AggerDanish Originals and
Transnational TransformationsECREA, Istanbul
24-27 October 2012
No. 2
Nestingen & Elkington: Transnational Cinema in a Global North (2005)“Financing for Nordic cinema productions is
often multinational; the cultural-political bodies that provide funding for cinema cannot be fitted neatly within the borders of a single nation-state; and the networks of production, distribution and exhibition through which all films pass are transnational.” (p. 2)
No. 3
Ib Bondebjerg and Eva Novrup Redvall (2011): A Small Region in a Global world. Patterns in Scandinavian Film and TV Culture• “Cinema is no longer the key element in a
film’s life.” (Bondebjerg and Redvall 2011: 12)
• “the national market is the most important” compared to the Scandinavian market and the EU market (Bondebjerg and Redvall 2011: 8)
No. 4
The transnational trend and the importance of the domestic audience• Danish art films• Danish mainstream films that that have a
cross cultural appeal • Films produced in a foreign culture by a
Danish director
No. 5
Susanne Bier and Lone Scherfig
• Both made their break-through in a domestic context with romantic comedies
• Susanne Bier with Den eneste ene (The One and Only, 1999, 843.472 admissions)
• Lone Scherfig with Italiensk for begyndere (Italian for Beginners, 2000), a Dogme production, 828,730 admissions (Source: Facts and Figures, DFI.dk)
No. 6
Susanne Bier cinematic strategy: a cross cultural approach
• The One and Only remade in England (2002, director Simon Cellan Jones)
• Elsker dig for evigt (Open Hearts 2002, manuscript: Anders Thomas Jensen, dogma film)
• Brødre (2004) • Efter Brylluppet (After the Wedding, 2006), nominated for an
Academy reward • Brothers (American remake, 2009, Director: Jim Sheridan)• Things We Lost in the Fire (2007), produced by the English
production company Neal Street Productions with primarily an American cast
• In a Better World (2010), received an Academy reward and a Golden Globe 2011
• Den skaldede frisør (Love is All You Need, 2012)
No. 7
Susanne Bier: the Breakthrough
Den eneste ene (The One and Only, 1999) – romantic comedy, 843.472 admissions
Elsker dig for evigt (Open Hearts, 2002) – realistic drama, Dogma film, 506.493 admissions
No. 8
The One and Only (2002, I: Simon Cellan Jones)
No. 9
The War and Family film Brødre (Brothers) 2004
No. 10
Brothers 2009 (I: Jim Sheridan)
No. 11
Things We Lost in the Fire (2007)
No. 12
Hollywoodization?
“In many of the new Danish films some minor stories have just been expanded to stress a similarity to American films. Danish film has become more sentimental, furnished with more cheap tricks.” (Lars von Trier 2005 in Ekko, Schepelern 2005: 26, my translation). Attacking
- Susanne Bier- Kim Fupz Aakeson - Anders Thomas Jensen
No. 13
Brothers 2004 / American remake 2009
Similarities:Both versions openly ask salient questions about the
consequences of participating in warDifferences:national traditions as well as family traditions in
warfare – due to the different cultural framesDanish version: 424,542 admissions in Danish
cinemas American version: 1,910 admissions in Danish
cinemas
No. 14
Hævnen (In a Better World) 2010
2011: Golden Globe2011: Academy Rewarda clear-cut thematic global scope:Africa and Denmark – contrasts and surprisingparallels
No. 15
No. 16
‘Romantic comedy’
Visually relating to Walt Disney Cindarella storyBanal music: Dean Martins That’s AmoreSorrentoClear primary colors: yellow, blue, red
The romantic comedy with a twist or two
No. 17
- Wilbur Wants to Kill Himself (2002)- An Education (2009): three Academy
Award nominations- A full
adaptationto a foreignfilm culture