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Enough Was Enough!!!

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Enough Was Enough!!! ENOUGH WAS ENOUGH!!! Roskilde University Center (RUC) Department of Communication, Journalism & Computer Science Supervisor: Henrik Juel Fall 2005 Project Group: Benavides Carrera Laura (Spain) Castedo JustinianoTania (Bolivia) Giorgobiani Sopio (Georgia) Santos Mendes Euclides (Brazil) Valor Navarro Marina (Spain) TABLE OF CONTENTS CHAPTER 1: INTRODUCTION.................................................................................................................................. 3 CHAPTER 2: RESEARCH QUESTION...................................................................................................................... 4 CHAPTER 3: METHODOLOGY ................................................................................................................................ 5 CHAPTER 4: CONCEPT OF DOGME 95................................................................................................................... 7 4.1 DOGME 95 - AN OUTCOME OF GLOBALISATION? ......................................................7 4.2 THE INFLUENCE OF AVANT-GARDE MOVEMENTS ON DOGME 95 ......................8 4.3 LARS VON TRIER'S IMPORTANCE FOR THE CREATION OF DOGME 95 ..............12 4.4 THE INFLUENCE OF DANISH FILM SCHOOL ON THE CREATION OF DOGME 95 ........................................................................................................................................................13 4.5 PARADOXICAL ASPECTS OF DOGME 95 ......................................................................14 4.5.1 Finding freedom and creativeness through restrictions......................................................................... 14 4.5.2. Restrictions on the use of aesthetics ....................................................................................................... 15 4.5.3 Rejection of individual cinema ................................................................................................................. 15 4.5.4 "Purity" before "Purity"............................................................................................................................ 16 4.5.5. Camera movements.................................................................................................................................... 16 CHAPTER 5: ANALYSIS OF THE FIRST FOUR DANISH DOGME MOVIES .............................................. 18 5.1 DOGME # 1: DRAMA AND SUCCESS IN CELEBRATION ...........................................18 5.2 DOGME #2: CHALLENGE AND DEVIANCE IN THE IDIOTS.....................................27 5.3: DOGME # 3: THE PAST AND THE FUTURE IN MIFUNE:...........................................34 5.4. DOGME # 4 - PLAYING AND LIVING IN THE KING IS ALIVE .................................43 CHAPTER 6: FOCUS GROUP ANALYSIS.............................................................................................................. 56 6.1 WHAT AND WHY? ..............................................................................................................56 6.2 HOW?......................................................................................................................................57 6.3. QUESTIONS AND ANALYSIS ..........................................................................................59 6.4 CONCLUSIONS ....................................................................................................................64 1 CHAPTER 7: WHAT INNOVATIONS DOES DOGME 95 CREATE?.............................................................. 65 7.1. DOGME MANIFESTO.........................................................................................................65 7.2. THE VOW OF CHASTITY ..........................................................................................................69 CHAPTER 8:MARKETING DOGME 95 8.1.INTRODUCTION .................................................................................................................72 8.2. THE NEED OF MARKETING ............................................................................................72 8.3. DEMAND FOR PRODUCT.................................................................................................73 8.4. TARGET AUDIENCE ..........................................................................................................76 8.5. MARKETING ASSETS.........................................................................................................77 8.6. MARKETING STRATEGY AND TOOLS..........................................................................79 8.6.1 The Need for Branding................................................................................................................................79 8.6.2 Selecting a Brand Name ............................................................................................................................. 81 8.6.3 Branding Dogme 95..................................................................................................................................... 84 8.6.4 Presenting the Brand................................................................................................................................... 86 8.6.5 Managing the Brand through its lifecycle ............................................................................................... 86 8.7. THE FOUNDER'S PERSPECTIVE......................................................................................90 8.8. EVALUATION OF THE MARKETING STRATEGY: THE OUTCOME OF DOGME 95 ........................................................................................................................................................91 CHAPTER 9: CONCLUSION..................................................................................................................................... 94 BIBLIOGRAFICAL REFERENCES ........................................................................................................................... 95 APPENDIX................................................................................................................................................................... 101 A) MANIFESTO.............................................................................................................................101 B) THE VOW OF CHASTITY ..........................................................................................................102 C) THOMAS VINTERBERG'S CONFESSION....................................................................................103 D) SØREN KRAGH-JACOBSEN'S CONFESSION .............................................................................104 E) FOCUS GROUP TRANSCRIPT..................................................................................................................... 105 2 CHAPTER 1: INTRODUCTION The underlying project is an attempt to analyse and challenge the concept of Dogme 95, a Danish cinematographic movement founded in March 1995 by a collective of Danish filmmakers. As international students at the communication department of Roskilde University, we were eager to take advantage of our stay in Denmark and write about the well-known Danish cinematographic movement that has inspired filmmakers across the whole world. While undertaking this project we were hoping to look at the subject from the critical perspective and to determine the borders between the artistic and the commercial aspects of movie-making. The major goal of our research was to determine whether Dogme 95 has indeed created innovations in cinematographic world or if it was a successful attempt by a collective of Danish directors to create publicity for their movies through promoting them as groundbreaking innovations in contemporary cinema. After having made the final touches to the project report we still feel that we have chosen a very successful angle for research, which has enabled us to challenge the artistic aspects of Dogme concept and at the same time to remain balanced and keep admiration for the creativeness of Dogme and the feeling of realism that Dogme movies create. We chose this topic, first of all, for personal reasons. We are studying Communication and some of us are looking forward to a career in cinema industry. This was a perfect opportunity for us to get closer to Dogme movement. Besides, living in a Danish society provides international students with a context, in which they can better understand Dogme movies. Another important factor was the availability of English language sources about Dogme movement. We were even able to meet with some people, who are closely connected with Dogme 95 and know Dogme directors in person. We would like to thank Mr. Peter Schepelern who has kindly agreed to accept us as guest students in his Dogme classes at the University of Copenhagen and has provided access to the most comprehensive Dogme video-library. 3 CHAPTER 2: RESEARCH QUESTION From the very beginning we were aware of the fact, that the selected topic was rather broad and in order to study the subject we had first to narrow it down significantly. Initially we wanted to know how successful Dogme 95 was in reality and what the audience perception of this alternative cinematographic movement was. Later on we got more involved in the innovative aspect of Dogme and wanted to analyze what types of innovations it introduced in the cinematographic language. We were constantly asking ourselves what was the idea behind the contradictory character of Dogme 95: on the one hand,
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