kvarter Volume 07 • 2013 akademiskacademic quarter
Blockbuster Genres in Danish Independent Film
Kim Toft Hansen PhD, Assistant Professor at Aalborg University. His main research interests are film, crime fiction, media culture, and television fic- tion. Current research projects include a personal project called Is there such a thing as Danish independent film? and a publicly funded project called Growth and Innovation in North Jutland Media Production. Recent publications include articles on Danish cinematic modernism, postsecularism in Scandinavian crime fic- tion, and the erotic vampire in film and television. He is currently co-editing the book Terminus: Slutningen i litteratur, medier og kultur.
Abstract Throughout the past decade, Danish independent cinema has grown from being amateur home productions to more self-aware production companies. What is fascinating about this development, though, is the fact that many of the indie filmmakers do not react against blockbuster marked dominance, but they respond by delv- ing directly into specific international blockbuster genres and styles in the search for what appears to be missing in Danish cinema. This works for some directors, principally, by directly reacting against the institutional and economic dominance of primarily The Danish Film Institute. Indirectly, the filmmakers seem to react against ‘what is allowed’ in Danish film culture. Thus, they actually define them- selves as being non-mainstream by focussing on international main- stream genres. By way of examples from the Danish indie scene and interviews with noteworthy indie filmmakers, this article draws at- tention to a still fairly anonymous trend in Danish film.
Volume 07 172 ------173
the institute.’ Kim Toft Hansen Toft Kim from from Volume 07 Director Shaky González Director you’re independent you’re ‘When you’re independent in Denmark, independent ‘When you’re Blockbuster Genres in Danish Independent Film Danish Independent in Genres Blockbuster Independent film, Danish cinema, blockbuster genres, One objective of this article is to probe the ground for research which is a fairly new qualitative research method with both obvi ous advantages and drawbacks (Meho, 2006; 2006). Opdenakker, Here, I do not have room to delve deeper into the epistemological framework of such interviews, but I would like to underline the most important benefits. Lokman I. Meho stresses that the lack of in-person contact in online communication by may, virtue of ano result in nymity, ‘little accountability’ (Meho, 2006, p. 1289). How the when well as case the be may opposite the that implies this ever, cussing on international mainstream genres. By way of examples indie noteworthy with interviews and scene indie Danish the from filmmakers, this article draws attention to a still fairly anonymous Danish film. in trend into has Danish been independent done cinema; so no far. research This means that I need to frame my analysis with a short historical account of such in productions Denmark. My main focus of the ar and generic the of some highlight and introduce to however, is, ticle stylistic processes in the Danish indiefilm culture at present. My interviews, e-mail several through procured is material empirical grown grown from being amateur home productions to more self-aware production companies. What is fascinating about this develop ment, though, is the fact that many of the indie filmmakers do not by respond they but dominance, marked blockbuster against react delving directly into specific international blockbuster genres and styles in the search for what appears to be is missing in Danish cinema. This works for some by directors, directly principally, re acting against the institutional and economic dominance of pri marily The Danish Film the Institute. filmmakersIndirectly, seem against to ‘what react is allowed’ in a Danish Thus, film culture. they actually define themselves as being by non-mainstream fo Keywords film culture. amateur cinema, indies rising? Framing: Throughout the past decade, Danish independent cinema has quarter
academic
kvarter akademisk ------174
Kim Toft Hansen Toft Kim Volume 07 DFI and the various consul various the and DFI This means that I combine, substantiate Blockbuster Genres in Danish Independent Film Danish Independent in Genres Blockbuster as ‘an American film culture’ (Newman, 2011). American (Newman,film 2011). culture’ as ‘an
1 Through Through the history of American cinema, independent cinema This article is then the first account of a fairly unheard voice in but was soon replaced by a dominant Hollywood studio system which to be independent. from has been more or less referred to as being in opposition to Holly wood – defined as both ‘a literal place and a state of mind’ (Holm, 2008, p. 17). I cannot delve deeply into this conceptual discussion here, but a few things seem to be certain if we confer with titles dealing with indie film cultures: a) the idea of independence is by ish film culture. a Danish film culture? Independent cinema: Already accentuated in his book title, Michael Z. Newman locates independent cinema and cinema American in roots its has itself in concept the course, Of has existed almost as long as film has production been going on. The term ‘independent’ was allegedly originally used as a descrip Patent Picture Motion The join to refused that filmmakers of tion founded Company, 1908 (King, 2005, p. 3). The patent company of trade’ (King, 2005, p. 3) in 1915, ‘an illegal restraint was declared the Danish film culture and as such the aim is to describe what we num a that realised I essence, In reactions. such see we why and see ber of my interviewees from the indie milieu independently drew attention to structural mechanisms the regarding presence and ab ‘ film. Danish in genres certain of sence tants through the years dislike the support for genre film’, says di rector Sohail A. Hassan. and explain my findings through e-mail interviewing with a hy pothesis about and genre style developments in Danish film: some and genres styles have had very little in room the established Dan participants are participants clearly are named. In my case, the participants have been very interested in providing information about their film background in order to gain a voice in the film culture. The draw iswhich tool, marketing a as used be could I that be may here back why I must underline that I do not necessarily with agree the film makers’ contentions. My is interest rather to pose them as an exist 2006, (Meho, phenomena’ cultural and social of ‘understanding ing p. 1284): that is, indie filmmakers’reflections ongenres and styles Danish cinema in general. quarter
academic
kvarter akademisk ------175 .
Kim Toft Hansen Toft Kim folk comedy Volume 07 or social realism and a voice of protest was inevitable 2 – founded actor by and producer, direc Blockbuster Genres in Danish Independent Film Danish Independent in Genres Blockbuster IndieFILM Denmark Is this, then, something Danish new in Danish film? Notreally. D.K Holm refers to the fact that the concept of independent cine One obvious question may therefore be: Why do I use ‘independ use I do Why be: therefore may question obvious One film culture has, at least throughout the second half of the twentieth the of half second the throughout least at has, culture film reorgani a Both establishment. the of critique to birth given century, School Film Danish the and subsidies film institutionalised of sation was launched in the sixties, already among the first to be educated in the new system. Director Being example. interesting especially an is Thomsen Braad Christian as was he School, Film Danish The at educated be to first the among Sønderholm describes the concept as a Sønderholm way of showing that there mainstream from different something doing are who filmmakers are Danish film production. ma – by way of, for instance, the production company Miramax – may have lost its value because it has become ‘a marketing tool’ (Holm, 2008, p. 13). Danish independent cinema may have a hint of this, but the appropriation of the term is, in this case, actors. powerful rather by dominated an culture at film a in voice a gain to tempt stylisti is – respondents interview my of several reply – culture This cally and generically marked by cinema employ the term as a way of assigning themselves a certain – voluntary or imposed – role in the Danish film culture. The asso ciation concept the of appropriation the underlines – 2010 in Ali Mustafa tor Sønderholm Kim actor and Director organisation. the of name the in lota that fact the to reference with usefulness term’s the emphasises of the filmmakers – though they are not necessarily widely known – actually make a living in the overall film industry as such. He ob jects, hence, to the idea of ‘amateur cinema’ and shows some reluc tance towards a reference to ‘underground film’, because Danish underground. involuntarily is part most the for cinema independent all means difficult to define; b) independency is a historical variable a historical is independency b) define; to difficult means all that evolves to in a relation atfilm a culture certain time and place; c) approaches to independent cinema need a contextual approach (Holm, 2008; 2005; Horsley, Merritt, 2000; King, 2005; Newman, 2011; Berra 2008). There is, so to speak, certainty about the uncer tainty of the concept. becauseso do I imprecise? and vague so is it if term a as cinema’ ent a range of directors, producers, actors and screenwriters in Danish quarter
academic
kvarter akademisk ------way 176 same
Kim Toft Hansen Toft Kim (1971), which ac Volume 07 Kære Irene Irene Kære Blockbuster Genres in Danish Independent Film Danish Independent in Genres Blockbuster These two examples are historical examples of independent play independent of examples historical are examples two These The film company Zentropa was once as well considered an inde an considered well as once was Zentropa company film The outward outward method of gaining public attention. It though, may, be doubtful that all small new, and low-budget Danish production companies should be viewed as reacting in exactly the towards the system. Production companies such as Lone Tower Last Visuals, Exit Productions and Cetus Productions are in differ ent ways the towards reactions direct establishment, while compa nies such as Roberta Film and Bullitt Film produces low-scale pro ductions while still considering themselves a part of an overall and leading player on the film market. Jake Horsley, however, does and leading player however, on the film market. Jake Horsley, – and especially Lars enough still consider Zentropa interestingly wage Trier’s now films view his in Though, indie. – films Trier’s von film Danish the on operators major not and Hollywood against war 2005). Indies by way market of (Horsley, Horsley’s argument about against the Hollywood system. still react Zentropa Dan recent from separable clearly is that culture film Danish in ers they However, genres. popular on focus direct its with indiefilm ish never decidedly defined themselves as ‘indies’ in the way that the recent and nascent Danish independent film has been doing as an pendent company (Horsley, pendent 2005). company Established (Horsley, in 1992 by producer Peter Aalbæk Jensen and director Lars the von company Trier, aimedestab the and production of ways traditional with break a at Dogma95 the through voiced severely was This styles. film lished manifest, which was among other things a direct attack on genre com production largest the – Film Nordisk today However, cinema. and company, the of shares the of bulk the holds – Denmark in pany independ an as Zentropa on insist to difficult be may it sense that in ent Infilm it some company. may way, be considered ‘a Danish in on industrially and aesthetically first at Miramax’: of variant dustrial major a into turning later culture, film contextual the of outskirts the well among the first to turn against the dominance of both the film school and the Danish Film Institute. Both organisations are under makes hismanagement of which the moreover Ministry of Culture, the as well as institution funding major the against protest a reaction overall cinema system of Denmark. The critique of the system was incorporated into his debut film feature hashe afterwards However, institute. film the by funded was tually the institute. time gaining subsidies from had a hard quarter
academic
kvarter akademisk
- - - st 177
(1999) and Kim Toft Hansen Toft Kim Volume 07 (2011). Olive The Blair Witch Project development of recording equipment Blockbuster Genres in Danish Independent Film Danish Independent in Genres Blockbuster digital (2007). A specificA horror(2007). genre or style such Newman focuses on what he calls ‘indie which realism’, is a way ‘dream factory’) suggests a different approach to a dissociation from from dissociation a to approach different a suggests factory’) ‘dream the establishment than in Danish cinema where character drama, social engagement institu and naturalism have been a mainstream, tionalised trend. The Irish-Danish director David Noel Bourke says trend a is there seems ‘It Institute: Film Danish the of scope the about for more “socio-realistic” films, light comedies, children’s films’. Bourke’s off-hand hunch seems to apply to the history of Danish cinema where realism has had a strong position (cf. Hansen, 2013a; the digital devices are used in a Your noteworthy stylistic manor. smartphone may even be a tool for film aesthetics, cf. Patrick Gilles American indie and Hooman Khalili’s of American describing independent cinema in terms of character based drama, social engagement of the narrative and naturalistic stylistics and themes (Newman, 2011, p. 87-140). This does, of course, not apply to all productions in an indie culture that shows However, genres. popular several towards inclinations significant American in narratives and styles realistic to attention special this independent film (as areaction towards Hollywood’s so-called nology’ (Holm, 2008, p. 22). If that is the case, and it very much seems so, the recent may be viewed as the sounding board underneath indies in the 21 with well as film independent international for goes This century. prevalent examples such as Paranormal Activity digi cheaper of out developed have may ‘found-footage-film’ as tal equipment. This development has influenced Danish indies as well: What IndieFILM Denmark does for upcoming filmmakers is for instance, among other things, to put recording and editing equipment at the Anything producers’ disposal. goes, it seems, if Danish filmculture. Howeverrelevant this discussion is, I now leave it aside in order to describe the appropriation of blockbuster indies. Danish and styles in recent genres films that are larger than life I want to make Through the last decade or so, we have seen a wide range of new and small Danish production companies show up. D.K. Holm writes that independent cinema throughout film history generally tech filmmaking inexpensive and light-weight in advances ‘mirrors quarter
academic
kvarter akademisk ------Nico 178 3 (2008) is a
(2009) are in are (2009) Kim Toft Hansen Toft Kim Craig Supernatural Tales Tales Supernatural Volume 07 Rovdrift (2010) is among the (2012), follow similar trends. Opstandelsen (2006) is another noteworthy example: noteworthy another is (2006) Little Big Boy (2003) and Emil Ishii’s Emil and (2003) Blockbuster Genres in Danish Independent Film Danish Independent in Genres Blockbuster Glimt Last Exit Last (2010) and Several other directors in the indie environment focus on horror. Several other in directors the indie focus environment on horror. Regarding horror, Regarding Kim horror, Sønderholm is a leading figure on the it is the first attempt to direct a Danish j-horror (Japanese hor film.Haugegaard’s Casperror) very few officiallyreleased Danish zombie-films. Slasher horror, besides Sønderholm’s films, takes up some space as well: David Bourke’s Noel this case good examples. In all, this special attention to horror on las Russel Bennetzon’s Russel las whatever they can find’, he says. ‘Principally, it is a question of sup ‘Principally, whatever they can find’, he says. films his and – Sønderholm lead has strategy This demand’. and ply – into the English speaking market where his films havereceived some critical attention. The above mentioned Ploug Johansen calls his films ‘indie-horror’ (2008) ‘Skizo’ as such films horror short directed now, until has, and and ‘Ansigtet’ (2012) as well as a conspicuous horror stylised ver sion of the H.C. Andersen story ‘Historien om en mor’ (2005). DVD compilation the in included was ‘Ansigtet’ (2012) that includes sixteen Danish indie short horror films. Danish indie scene. he However, has recently been pursuing an in ternational but career, he is frequently used as an actor in Danish indies. His focus has, from the start, been horror seasoned with ele ments from thrillers and slashers. His debut film lengthy study into the mind of a serial killer – a theme he reuses his from short film‘Mental Distortion’ (2008). His two next movies, de Tour Force butpractice, aesthetic an only not is horror in interest Sønderholm’s the especially ‘Luckily, strategy: indie special a as horror employs he see want price, any at who, fans many incredibly so has genre horror Langkjær, 2012). Several of my respondents claim that it is especially is it that claim respondents my of Several 2012). Langkjær, hard to receive attention from the film institute ifthe project is con sidered a piece of genre cinema. ‘For a long time’, says director environment horror the in joke a been has ‘it Johansen, Ploug Svend that the film institute only supports socialrealism or folk comedy’ (Lindberg, 2012, p. 26). What we see in Danish indiefilm, according to among others director Sohail A. Hassan, is a prevalent attention towards the genres and styles that receive very little overall atten culture. tion in the established Danish film quarter
academic
kvarter akademisk ------The 179 (2002).
Bag det stille det Bag (1994) has a . Kim Toft Hansen Toft Kim . One interesting interesting One . . Indie horror in for horror in Dan for horror Volume 07 Nattevagten Kollegiet tradition One Hell of a Christmas sleaze cinema The Blair Witch Project The Blair Witch (2008) (one of the guys behind (1998) – one of the very few Danish Solstice Blockbuster Genres in Danish Independent Film Danish Independent in Genres Blockbuster and Martin Barnewitz’s Martin and ). Lastly, ). Ole Lastly, Bornedal’s Nattens engel Cecilie (2003), which in turn was remade by the American indie American the by remade was turn in which (2003), (2005), which was produced by the indie company Wise Guy The Chilean-Danish director Shaky The González Chilean-Danish has director been playing a However, internationally However, there is too a certain drift, mentioned Of course, Danish film history includes some examples of the aspects are internationally clearly encompassed by the unexpected the by encompassed clearly internationally are aspects indie blockbuster phenomenon ish film. The reasons for this may be various, but for indie directors directors indie for but various, be may this for reasons The film. ish the film institute. this appears as hesitance from indie various within horror underground towards Sønderholm, by cultures – sometimes referred to as for Denmark is seems, a then, search to be going both ways: There a indie horror hit, on the one hand, while the producers, on the subsi potential down turn would they that state never hand, other dies from the horror has institute. both Basically, its underground both and impact blockbuster international an as well as tendencies weighty role in Danish independent cinema for over fifteen years. He debuted with with up followed and – films vampire introduc he because interesting additionally is González However, es genres and styles in Danish cinema that are missing or at least years – never really established an actual an established really never – years Productions. Productions. In 2007, two horror films werereleased from larger established companies with institute subsidies: Hans Fabian Wul lenweber’s borderline case is Carsten Myllerup. He was among the first direc Super16. school film independent Danish the at educated be tor’sto Afterwards, he was granted institute subsidies for his debut film Midsommer director Dan Myrick as Blair Witch Project these but film, horror Danish groundbreaking a as position profiled very few titles – only six state subsidized horror films in twenty the indie scene is in some way a reaction towards a genre that re culture. in the overall Danish production ceives little attention Martin director between cooperation the 1990’s the In genre. horror Schmidt and writer Dennis Jürgensen resulted in two teen horror but films, horror additional two made Schmidt Subsequently, films. started directing television series during the 2000’s. However, with collaboration the resumed Jürgensen and Schmidt ydre quarter
academic
kvarter akademisk ------Mad 180 (2007) (2007) is, (2007)
Westbrick Westbrick Mur (2005). Dennis Kim Toft Hansen Toft Kim Pistoleros No Right Turn Right No Volume 07 (1982). Underlining As a towards reaction 4 Sin City (Holm, 2004: 139). (1996). Conan the Barbarian tarantinoesque Blockbuster Genres in Danish Independent Film Danish Independent in Genres Blockbuster has an evident scent of Tarantino while at the at while Tarantino of scent evident an has (1995) as a programmatic and strategic tool (1995) as a programmatic . González’s third feature film feature third González’s . (2005) – co-written by Kim Sønderholm – appro In two short films, Philip Th. Pedersen picks up the up picks Pedersen Th. Philip films, short two In
From Dusk From till Dawn or even Krokodillerne grindhouse (2010) draws heavily on Rodriguez’s Brutal Incasso -series (1979-85) and González’s genre interests connect the two most conspicuous gen conspicuous most two the connect interests genre González’s Several of my respondents – for instance the actor David Sakurai David actor the instance for – respondents my of Several priates Rodriguez’s aesthetic violence with an evident hint at Quen at hint evident an with violence aesthetic Rodriguez’s priates Bourke’s Noel David films. early Tarantino’s tin employs aesthetic violence in a stylistic blend of tarantinoesque gangster violence and art house pulp. Shaun Rana’s ders Bahnsen’s gangster Danish Olsen’s Spang Lasse on heavily drawing time same comedies. action as a creativity killer based on a sense of economic bureaucracy. killer based on a sense of economic bureaucracy. as a creativity res on the indie scene: horror and gangster action, which are both in his very debut prevalent film with obvious similarities with Rob ert Rodriguez’s his maintains González cinema, Danish in realism of dominance the interests in directing films that – with his own phrase – ‘are larger than life’ this Qualitatively, means heavy doses of action and the a generally, is, action Gangster humour. of sense a with supernatural conspicuous genre or style among Danish indies. Jonas Kvist Jens en’s and horror director Svend Ploug Johansen – not only refer to Rodri to refer only not – Johansen Ploug Svend director horror and guez as a stylistic inspiration, but they also directly place his book a Crew Rebel Without school, film afford can’t you and filmmaker a be to want you ‘If box: know that you don’t really learn anything in film school anyway’ writes Rodriguez (1995, p. xiii). Rodriguez has – for indie directors filmmak of generation a for voice a become – Denmark in only not ers focussing on a general ‘do it yourself’ culture. In many of my interviews, this is underlined by a recurrent reference to the indie filmmaker’s love and care for film in itself and the subsidised film very rare. His post-apocalyptic short film ‘The Last Warrior’ very His rare. post-apocalyptic short film ‘The (2010) Last is mainly a spoof of 80’s action-adventure films suchas the Max from role own his replays Holmey Eric spoof, action-adventure the Barbarian the Conan then, an action film and a gangster drama in the style of Robert which basically means the iron Rodriguez and Quentin Tarantino, ic, humorous, violent exploitation action style sometimes referred to as quarter
academic
kvarter akademisk
- - - - - ) all all ) (1999) 181 Incasso Den gode
Brutal Incasso Brutal Pistoleros (2012). Dennis Kim Toft Hansen Toft Kim and Volume 07 I Kina spiser de hunde Westbrick Westbrick Murders, Brutal In Nattens engel Made in Denmark , (2011) – was made (2011) without fund and similar examples, and the other (2002), which are mentioned as inspira (2008) is more in tune with the mentioned the with tune in more is (2008) (2008) and Blockbuster Genres in Danish Independent Film Danish Independent in Genres Blockbuster -trilogy (1996-2005). ‘Små mænd’ focuses on No Right Turn Right No , Den sidste rejse Pusher Olsen Banden (1968-2008), while Stefan Kjær Olsen’s ‘Blodbødre’ Eye for Eye Det perfekte kup perfekte Det (2004) and Krokodillerne , Gamle mænd i nye biler In general, the gangster drama in Danish indiefilm points in dif ing from the film institute. ing from narrative tradition of various gangster dramas, but besides Olsen’s films, the humouresque, aestheticised and violent version of the style has worked its way into films produced without state subsi dies. Interestingly enough, two of Olsen’s latest films – strømer one is a serious and aestheticised violent version primarily voiced by Nicholas Refn. Winding and Tarantino Rodriguez combined result a as – which tonality, humoresque light a with violence rough in Danish indiefilm – becomes an blend interesting of humour and violence with Americanan inspiration the from two path-breaking directors. In Denmark, Lasse Spang Olsen paved the way for this type of film with his blockbuster hits and Jensen’s and – Jensen Kvist Jonas indiedirector by tion has obvious thematic and title similarities with Olsen’s (2004). this Generally, means that Danish cinema of course has its Olsen Banden (2013) is perhaps the indie production that comes the closest to a of Danish criminals. portrait realistic ferent directions, but the films that are both feature length and widely distributed on a video format ( casso accentuate a style that has been rarely used in Danish cinema. Gangster drama in Denmark has mostly been articulated through two lines of interests. The first one isa light folk comedy version modelled after gangster drama in very different ways: ‘The Fro’ (2011) is a spoof of ways: gangster (2011) ‘The drama Fro’ in very different a blackspoitation humourous gangster drama while ‘Små mænd’ is more in tune with socio-realistic gangster films such as Nicholas Refn’s Winding is which integration, and gangsters Danish between relationship the also an incorporated component in Kaywan Mohsens low-budget productions Petersen’s lightweight Danish gangster comedies, a sort of a rough version of quarter
academic
kvarter akademisk : ------182
(2009). Shaky (2009). Kim Toft Hansen Toft Kim Volume 07 Profetia Profetia subaltern counterpublics . It is within this group we find the find we group this within is It . (2008) in Denmark as an indie director, director, indie an as Denmark in (2008) , but today he is granted substantial subsi Blockbuster Genres in Danish Independent Film Danish Independent in Genres Blockbuster . These two groups are not at all clearly separa clearly all at not are groups two These . Preludium Preludium Pusher institutional independency institutional This means that the inDanish generalfilm seems culture marked In other cases, participants highlight that they are in the film the most of what he has made has been indie. within by what Nancy Fraser has called ‘multiple publics’, but 65- p. 1990, (Fraser, relations’ ‘interpublic be may there these among 66): Institutionally independent filmmakers, such as David Noel A. Hassan, Bourke can or then, Sohail within the Danish film cul ture, be described through Fraser’s term subordinated of members where arenas discursive parallel are ‘they dies for his feature films. The Swedish director Johan Melin made his second feature film third his for subsidies granted was he but González too moves back and forth between state funded film and on being indie, because but he still insists independent produtions, stitutions and production companies; I would call this grouping independency aspiring into group one from forth and back developments are there and ble, One the obvious other. example is, of course, the director Nicholas Refn, who left the Danish Film School (the establishment) Winding to shoot in order by the establishment; these are the filmmakers I would describe describe would I filmmakers the are these establishment; the by through voices the that most are critical and to some we, extent as here well, which seems to link and action productions, find most of the horror critique of state subsidies with specific absent styles and genres in Danish cinema. The main reason why they are institutionally inde pendent is the fact that they have either been turned down by the institute or basically expect to be if they apply for funding with a project. specific genre business because they feel a need to be and not in opposition to in Indies in Denmark: counterpublics or training camps? counterpublics or training Indies in Denmark: In my interviews, seems there to be a gradual transition beingfrom truly independent (dubbed ‘guerrilla style’ by David Noel Bourke) towards being a part of the establishment. Hesitance towards the gen towards reluctance of sense a from directly comes institute film re cinema, which indirectly means that indie directors fear losing beto takes it what do to were they if projects their of control generic granted subsidies. In some cases, participants express that they seem to play a subordinated role and feel particularly pressured quarter
academic
kvarter akademisk ------183
Kim Toft Hansen Toft Kim no real tradition is Volume 07 Quantitatively, indie Quantitatively, 5 : ‘these counterpublics – still mainly fuses with non-vio training camps Blockbuster Genres in Danish Independent Film Danish Independent in Genres Blockbuster Olsen Banden In conclusion, Danish independent cinema seems to react, through through react, to seems cinema independent Danish conclusion, In ‘subsidies for horror film historically has been modest’, but he as he but modest’, been has historically film horror for ‘subsidies sumes that this may change (Lindberg, 2012). Whether or not Dan ish livesindiefilm, up qualitatively, to the expectation of supplying Danish cinema with an alternative is a study left And for if later. change in Danish cinema is about to come, only time will tell. for horror in Denmark, while the gangster drama – perhaps stem filmsming like from appropria then, are, styles and genres These comedy. and satire lent tions of international trends and, thus, introduced in a Danish film culture that seems to have a stylistic void. filmmakers in Denmark then seem toTo have some a extent, point. Horskjær defends his position as a film consultant by underlining that he does not subsidise certain genres, but funds what he terms spe that fact the acknowledges he However, general. in films’ ‘good cifically horror has been almost absent in Danish cinema. Claus Ladegaard (DFI head of Production and Development) admits that lic sphere would the established, subsidised film culture. However, critique may come from both sides of the matter and even from es tablished and state subsidised filmmakers as wellVuorola (cf. and Hjortshøj, 2013). such genres or styles, against an established film cultural and insti be not may Reality comedy. light and realism social on focus tutional film the ask we if seem it makes itself environment the as obvious as institute itself, says Rasmus Horskjær (film consultant at DFI), but nevertheless the indies are clearly doing something thandifferent Danish cinema in general has been doing: There social groups invent and circulate counterdiscourses’ 1990,(Fraser, p. 67). The counterdiscourses are, then, the films themselves and ways to financefilm. and Rather produce than being countercultur or Madsen Charlotte as such filmmakers, independent aspiringly al, David Sakurai, can be explained by what Jostein Gripsrud – draw ing on Nancy Fraser – calls would often tend to themselves regard as training camps and wait ing rooms for aspiring future participants in the “proper”, national pub national specific the Here, 5). p. 2010, (Gripsrud, sphere’ public quarter
academic
kvarter akademisk ------I - 184 Berlingske:
, 25/26, pp. Filmmagasinet Kim Toft Hansen Toft Kim . New York: Co York: New . . Möklinta: Gid In: Forum: Qualitative Forum: Volume 07 . New York: Plume. York: . New Social Text . New York: I.B. Taurus. York: . New . Frederiksberg: Samfunds Frederiksberg: . . Herts: Kamera Books. . Bristol: Intellect. . Herts: Pocket Essentials. , 57(10), pp. 1284-1295. Journal of the American Society for In . London: Marion Boyars Publishers, Blockbuster Genres in Danish Independent Film Danish Independent in Genres Blockbuster Indie: An American Film Culture Film American An Indie: Rebel Without a Crew: Or How a 23-Year-Old Film 23-Year-Old a How Or Crew: a Without Rebel Realismen i dansk film dansk i Realismen Relocating Television: Television in the Digital Con Digital the in Television Television: Relocating Quentin Tarantino Independent Cinema E-Mail Interviewing in Qualitative A Research: , [online] 7(4). Available at:
academic
kvarter akademisk - - - - - 185
Kim Toft Hansen Toft Kim Volume 07 Kunstnere Kunstnere frygter filmkonsu [Film] Directed by Daniel Myrick and
, 24 Apr. p. 1. Apr. , 24 2002. [Film] Directed by Shaky González. 2005. [Short film] Directed by Svend Ploug Blockbuster Genres in Danish Independent Film Danish Independent in Genres Blockbuster
, 2002. [Film] Directed by Lasse Spang Olsen.
1996. [Film] Directed by Robert Rodriguez. 1999. [Film] Directed by Lasse Spang Olsen. 1999. [Film] Directed , , 1999.
, , 1982. [Film] Directed by John Milius. USA: Dino USA: Milius. John by Directed [Film] 1982.
, 2003. [Film] Directed by Martin Schmidt. Den
2004. [Film] Directed by Lasse Spang Olsen. Den ,
, 1998. [Film] Directed by Shaky González. Denmark: González. Shaky by Directed [Film] 1998. 2005. [Film] Directed by Jonas Kvist Jensen. Denmark: Jensen. Kvist Jonas by Directed [Film] 2005.
, , Politiken: Kultur 2003. [Film] Directed by Carsten Myllerup. Denmark: 1994. [Film] Directed by Ole Bornedal. Denmark: Obel
, , 2003. [Film] Directed by David Noel Bourke. Denmark: , 1971. [Film] Directed by Christian Braad Thomsen. Den 2005. [Film] Directed by Robert Rodriguez. Denmark: Di
, , 2006. [Film] Directed by Nicolas Russel Bennetzen. Denmark: Bennetzen. Russel Nicolas by Directed [Film] 2006.
, Johansen. Denmark: K2 Productions/Epic Sound. Johansen. Denmark: K2 Productions/Epic mark: Guy Productions. Wise Studios. mension Films/Troublemaker Fuld Fart Film. Denmark: Obel Film/Thura Film. Cosmo Film. Last Exit Productions. Pictures. mark: Endaxi Film/Unspeakably Wicked Visuals. Lone Tower Film. Denmark: Miramax Films. Guy Productions. Wise Filmproduktion. Denmark: Steen Herdel Sánchez. USA: Haxan Films. Eduardo Guy Productions. Denmark: Wise lenterne. Company. De Laurentiis mark: Kollektiv Film. Bag det stille ydre Last Exit Glimt Gamle mænd i nye biler Last Exit Den gode strømer Incasso Brutal ‘Historien om en mor’, From From Dusk till Dawn Nattens engel I Kina spiser de hunde The Blair Witch Project Christmas a of One Hell Midsommer Vuorola, M. Vuorola, and M. Hjortshøj, 2013. References Film Irene Kære Conan the Barbarian Nattevagten quarter
academic
kvarter akademisk ------186
Kim Toft Hansen Toft Kim Volume 07 [Film] Directed by Oren Peli. USA: Solana
Blockbuster Genres in Danish Independent Film Danish Independent in Genres Blockbuster 2010. [Film] Directed by Shaun Rana. Denmark: , 2007
, 2011. [Film] 2011. Directed by Lasse Spang Olsen. Den
2007. [Film] Directed by David Noel Bourke. Den 2009. [Short film] Directed by Svend Ploug Johansen. Ploug Svend by Directed film] [Short 2009. ,
2011. [Short 2011. film] Directed by Philip Th. Pedersen. 2010. [Film] Directed by Casper Haugegaard. Den , 2008. [Film] Directed 2008. by [Film] Dennis Directed Bahnsen. Denmark:
, , 2008. [Film] Directed by Kaywan Mohsen. Denmark:
2012. [Short film] Directed by Svend Ploug Johansen. 2008. [Film] Directed by Johan Melin. Denmark: Bullitt ,
2011. [Short film]2011. Directed by Philip Th. Pedersen. Den 2007. [Film] Directed by Shaky González. Denmark: MA ,
2007. [Film] Directed by Martin Barnewitz. Denmark: Nor Denmark: Barnewitz. Martin by Directed [Film] 2007. 2009. [Film] Directed by Emil Ishii. Denmark: Apotheosis Apotheosis Denmark: Ishii. Emil by Directed [Film] 2009. ,
2009. [Film] Directed by Johan Melin. Denmark: Bullitt Film. Bullitt Denmark: Melin. Johan by Directed [Film] 2009. 2008. [Film] Directed by Daniel Myrick. USA: Endgame En 2008. [Film] Directed , 2008. [Short film] Directed by Svend Ploug Johansen. Den ,
2007. [Film] Directed by Hans Fabian Den Wullenweber.
, ,
, , 2008. [Film] Directed by Kim Sønderholm. Denmark: Cetus mark: Phenomena Pictures. Denmark: SBS Productions. Productions. Royal1. Film. Denmark: SBS Productions. Revolver Films. Productions. mark: Jawbreaker mark: OrigiCorp. Denmark: Phenomena Pictures. disk Film. Suicide Films. tertainment / Solstice Productions. mark: SBS Productions. Film/Thief Productions. mark: Last Exit Productions. Productions. Films/Blumhouse Productions/Cut1Movie. mark: Nimbus Film. ‘The Fro’, ‘Ansigtet’, Craig Eye for Eye Den sidste rejse ‘Små mænd’, ‘Global Alarm’ ‘Global Westbrick Murders Opstandelsen Krokodillerne Solstice ‘Skizo’, Preludium Profetia Rovdrift No Right Turn Paranormal Activity Pistoleros Cecilie Kollegiet quarter
academic
kvarter akademisk . 187 short film
Kulturkapellet Kim Toft Hansen Toft Kim Volume (2010). 07 post-apocalyptic Wasteland Tales Tales Wasteland 2012. [Film] Directed by Kaywan
, 2012. [Film] Directed by Henrik Kolind.
, Blockbuster Genres in Danish Independent Film Danish Independent in Genres Blockbuster 2010. [Short film] Directed by Shaky González.
2008. [Film] Directed by Dennis Petersen. Denmark: Petersen. Dennis by Directed [Film] 2008.
, 2012. [Film] Directed by Kim Sønderholm. Denmark: 2010. [Film] Directed by Kim Sønderholm. Denmark: 2013. [Short byfilm] Stefan Directed Olsen. Denmark:
, , , 2011. [Film] , Directed 2011. by Patrick Gilles and Hooman Khalili. Mohsen. Denmark: Royal1. Apotheosis Film. Denmark: Roberta Film. Idéfabrikken. Gonnabe. Films. Denmark: First Tribe Cetus Productions. USA: Cave Scribe. In between ‘Skizo’ and ‘Ansigtet’ we find the Alarm’ ‘Global (2009), which was a theme and genre that was taken up by a number of indie in directors the film festival MovieBattle 2010 and on the compilation DVD released For additional information about González, see Hansen (2013b). component its has well as cinema independent Danish that note should I of what Holm calls ‘non-conformist films stripped of the predictable or familiar story structures’ (Holm, 2008, p. 14). This is sometimes termed various interviews with players in the field – for example, Ali, Mustafa David Noel Bourke, Sohial A. Hassan, Svend Ploug Johansen, David Sakurai, and Jonas Kvist Jensen – in the online magazine information. may consult these for more You The Danish Film Institute was established in 1972 as a continuation of state-financed film subsidies Filmfonden through (est. 1964). In 1997 Statens Filmcentral and Det Danske Filmmuseum were closed and The organisation. umbrella an as Institute Film Danish The under placed state of idea the However, 1966. in establised was School Film Danish subsidies goes back to the establishment of Statens Filmcentral in 1938 interests. with the intention of supporting film without commercial This article is part of a larger work in progress about Danish independent Danish about progress in work larger a of part is article This cinema and low budget productions in Denmark. I have published 3 4 5 2 Caroline Caroline – den sidste rejse ‘Blodbrødre’, Notes 1 Tour de Tour Force Little Big Boy Det perfekte kup perfekte Det ‘The Last Warrior’, Olive Made in Denmark – The Movie quarter
academic
kvarter akademisk 188 No Right No Right
Caroline Caroline – den Kim Toft Hansen Toft Kim (2009), produced by Volume 07 Profetia Profetia . The Swedish director Johan art house (2008) and Blockbuster Genres in Danish Independent Film Danish Independent in Genres Blockbuster Preludium Preludium (2012) are in this case interesting examples. David Noel (King, 2005, p. 102) or (2010) that may be described – besides obvious references to art cinema Melin’s feature films the Danish company Bullitt Film, and Henrik Kolind’s sidste rejse film feature second his in horror from away turned Bourke Turn – as a coupling of art house and pulp. Tarantino quarter
academic
kvarter akademisk