Ole Bornedal Writer / Director
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Turns to Affect in Feminist Film Theory 97 Anu Koivunen Sound and Feminist Modernity in Black Women’S Film Narratives 111 Geetha Ramanathan
European Film Studies Mutations and Appropriations in THE KEY DEBATES FEMINISMS Laura Mulvey and 5 Anna Backman Rogers (eds.) Amsterdam University Press Feminisms The Key Debates Mutations and Appropriations in European Film Studies Series Editors Ian Christie, Dominique Chateau, Annie van den Oever Feminisms Diversity, Difference, and Multiplicity in Contemporary Film Cultures Edited by Laura Mulvey and Anna Backman Rogers Amsterdam University Press The publication of this book is made possible by grants from the Netherlands Organisation for Scientific Research (NWO). Cover design: Neon, design and communications | Sabine Mannel Lay-out: japes, Amsterdam Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 90 8964 676 7 e-isbn 978 90 4852 363 4 doi 10.5117/9789089646767 nur 670 © L. Mulvey, A. Backman Rogers / Amsterdam University Press B.V., Amsterdam 2015 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Contents Editorial 9 Preface 10 Acknowledgments 15 Introduction: 1970s Feminist Film Theory and the Obsolescent Object 17 Laura Mulvey PART I New Perspectives: Images and the Female Body Disconnected Heroines, Icy Intelligence: Reframing Feminism(s) -
Kopi Fra DBC Webarkiv
Kopi fra DBC Webarkiv Kopi af: Slaget om slaget ved Dybbøl - Den danske pressemodtagelse af 1864 Dette materiale er lagret i henhold til aftale mellem DBC og udgiveren. www.dbc.dk e-mail: [email protected] 7/3/2017 www.kosmorama.org/Artikler/SlagetomSlagetvedDybboel.aspx DU ER HER: KOSMORAMA | TIDSSKRIFT FOR FILMFORSKNING OG FILMKULTUR / ARTIKLER / SLAGET OM SLAGET VED DYBBØL SLAGET OM SLAGET VED DYBBØL – DEN DANSKE PRESSEMODTAGELSE AF 1864 17 NOVEMBER 2015 / ERIK HEDLING PEER REVIEWED Hvad var det dog, der skete i de uger, hvor Ole Bornedals 1864 blev vist i Danmark? Serien, der er skandinavisk filmhistories dyreste filmproduktion nogensinde, udløste intet mindre end en pressestorm. Artikelbunken på billedet nedenfor viser de over 800 interviews, kommentarer og anmeldelser, de store dagblade skrev om serien. Kosmorama har bedt filmprofessor ved Lunds Universitet Erik Hedling, der har været velsignet med ukendskab til den danske debat, om at grave sig gennem bunken og tage bestik af balladen om 1864 og serien selv. 800+ avisudklip med interviews, kommentarer og anmeldelser, som de store dagblade bragte om serien 1864. Fra DFI Bibliotekets udklipssamling. 1. Introduktion 1.1 Baggrund Det var under et konferencebesøg i Prag i den sidste del af juni 2013, at jeg første gang hørte om produktionen af en tvserie om de dramatiske begivenheder under Anden Slesvigske Krig (1864) mellem Danmark og det Tyske Forbund, repræsenteret ved dets to mest magtfulde medlemmer Prøjsen og Østrig. Under konferencen var Prag ved at kvæles af en hedebølge med temperaturer op over 40 grader. Sammen med min kollega, Casper Tybjerg fra Københavns Universitet, var jeg flygtet fra den stegende sol ind i en kølig tjekkisk ølstue. -
Written by Thomas Vinterberg and Tobias Lindholm Starring: Mads Mikkelsen, Thomas Bo Larsen, Magnus Millang, Lars Ranthe
A Samuel Goldwyn Films Release Directed by Thomas Vinterberg (THE HUNT, THE CELEBRATION) Written by Thomas Vinterberg and Tobias Lindholm Starring: Mads Mikkelsen, Thomas Bo Larsen, Magnus Millang, Lars Ranthe US Press Contacts Cinetic Marketing and PR Julie Chappell Nico Chapin Lydia Snapper [email protected] [email protected] [email protected] 1 LOG LINE Another Round is a fun, moving, life-affirming and thought-provoking drama aBout friendship, freedom, love – and alcohol. SYNOPSIS Four friends, all teachers at various stages of middle age, are stuck in a rut. UnaBle to share their passions either at school or at home, they embark on an audacious experiment from an oBscure philosopher: to see if a constant level of alcohol in their Blood will help them find greater freedom and happiness. At first they each find a new-found zest, But as the gang pushes their experiment further, issues that have Been simmering for years come to a head and the men are faced with a choice: reckon with their Behavior or continue on the same course. Underscored By delicate and affecting camerawork, director Thomas Vinterberg's spry script, co-written with regular collaBorator ToBias Lindholm, uses this Bold premise to explore the euphoria and pain of an unBridled life. Playing a once Brilliant But now world- weary shell of a man, the ever surprising Mads Mikkelsen delivers a fierce and touching performance. 2 DIRECTOR’S INTENT THOMAS VINTERBERG “I never drink before breakfast.” The quote is from Churchill, who helped to defeat the Germans and win World War II, while under the excessive and constant influence of alcohol. -
1 Děkuji Vedoucímu Práce Mgr. Pavlu Skopalovi Za Veškeré Připomínky
Děkuji vedoucímu práce Mgr. Pavlu Skopalovi za veškeré připomínky, za pomoc při určování směru této práce a za poskytnutí dodatečných pramenů nezbytných k jejímu usměrňování a včasnému dokončení. Prohlašuji, že jsem pracoval samostatně a použil jen uvedených pramenů. V _____________________ Dne ___________________ 1 Masarykova universita Filosofická fakulta Ústav filmu a audiovizuální kultury Petr Kocanda (FAV, bakalářské prezenční studium) Hellboy: tematický přístup filmové hudby vs. jednotná tematická koncepce v komiksovém filmu (bakalářská práce oborová) Vedoucí práce: Mgr. Pavel Skopal Brno 2006 2 O B S A H 1. ÚVOD -------------------------------------------4 2. POČÁTKY A VÝVOJ TEMATICKÉ SKLADBY --------------6 3. SUBŽÁNRY KOMIKSOVÉHO FILMU ---------------------10 4.A. MARCO BELTRAMI ---------------------------------12 4.B. GRAEME REVELL ----------------------------------15 4.C. JOHN OTTMAN ------------------------------------16 4.D. DANNY ELFMAN -----------------------------------18 5. KLASICKY VZDĚLÁNÍ SKLADATELÉ VS. „SAMOUCI“ -----20 6. OPAKOVANÁ SPOLUPRÁCE SKLADATELE A REŽISÉRA -----23 7.1.A. TÉMATA HELLBOYE --------------------------------25 7.1.B. MILOSTNÉ TÉMA HELLBOYE A LIZ SHERMANOVÉ --------28 7.1.C. TÉMA PROFESORA BROOMA --------------------------30 7.1.D. TÉMA EVIL DOERS --------------------------------33 7.1.E. KROENEN ----------------------------------------34 7.1.F. TÉMA RASPUTINA ---------------------------------36 7.2. PŮVODNÍ VERZE HELLBOYE A DIRECTOR´S CUT --------37 7.2.A. SCÉNY ROZŠÍŘENÉ --------------------------------38 -
Die Vertretungslehrerin Regisseur Ole Bornedal, Jahrgang 1959, Begann the Substitute Beim Hörfunk Und War Von 1982 Bis 1987 Regisseur Von Zehn Hörspielen
Dänemark Denmark Kinder- und Jugendfilme Children’s and Youth Films 2007, 93 Min., 35 mm, Farbe colour, englische Unter- titel English subtitles Ab 10 Jahren 10 years and older Regie Director Ole Bornedal Drehbuch Screenplay Ole Bornedal, Henrik Prip Kamera Camera Dan Laustsen Schnitt Editing Thomas Krag Musik Music Marco Beltrami Rollen Cast Paprika Steen (Ulla), Ulrich Thomsen (Carls Vater), Jonas Wandschneider (Carl), Jakob Fals Nygaard (Albert), Nikolaj Falkenberg-Klok (Phillip), Emma Juel Justesen (Rikke), Sonja Richter (Maria) Produktion Production Michael Obel, Thura film Adresse Address Indiakaj 12, 2100 København, Den- mark, Tel: +45 35 44 11 11, Fax: +45 35 43 40 15, e-mail [email protected] Weltvertrieb World Sales Nordisk Film Interna- tional Sales, Mosedalvej 14, 2500 Valby, Denmark, Vikaren e-mail [email protected] Die Vertretungslehrerin Regisseur Ole Bornedal, Jahrgang 1959, begann The Substitute beim Hörfunk und war von 1982 bis 1987 Regisseur von zehn Hörspielen. Danach wechselte er zum Fern- Als der zwölfjährige Carl eine neue Vertretungslehrerin bekommt, sehen, schrieb und inszenierte TV-Shows, Kurzfilme merkt der Schüler sofort, dass mit ihr etwas nicht stimmt: Ulla ist und Fernsehspiele. Seine Stellung als Fernsehspiel- gemein und gefühllos, sie quält die Kinder im Sportunterricht und chef bei Danmarks Radio gab er nach dem Erfolg sei- demütigt sie bei jeder Gelegenheit. Carl und seine Freunde sind nes Debütspielfilms „Nachtwache“ 1994 auf. Er bekam überzeugt: Ulla ist ein Alien aus dem Weltraum, das mit finste- ein Angebot aus Hollywood und drehte dort ein Re- ren Eroberungsplänen auf die Erde gekommen ist. Als die Schü- make („Nightwatch", 1998). Daneben hat er sich als ler ihren Eltern von ihrem Verdacht erzählen, wird das als Er- Dramatiker und Theaterregisseur etabliert. -
Scarica Il Pressbook
presentano (In A Better World) un film di Susanne Bier con Mikael Persbrandt, Trine Dyrholm, Ulrich Thomsen Ufficio stampa Studio PUNTOeVIRGOLA Tel: 06.39388909 – [email protected] Ufficio stampa Milano AIGOR Tel: 02.83241199 – [email protected] per scaricare il pressbook, le foto hi-res, il trailer italiano (in flash e MP4) e il poster del film http://www.teodorafilm.com/ADMIN/ user: stampatr pw: stampatr CAST TECNICO Regia Susanne Bier Soggetto Susanne Bier e Anders Thomas Jensen Sceneggiatura Anders Thomas Jensen Produttore Sisse Graum Jørgensen Fotografia Morten Søborg, DDF Montaggio Pernille Bech Christensen Scenografia Peter Grant Direzione luci Jacob Marlow Musica Johan Søderqvist Costumi Manon Rasmussen Trucco Charlotte Laustsen Suono Eddie Simonsen Produttore esecutivo Karen Bentzon PRODUZIONE E DATI TECNICI Produzione Zentropa Entertainments16 Produttori associati Danish Film Institute 60/40 scheme, DR, Filmfyn, Nordisk Film and TV Fond, The Swedish Film Institute, Sveriges Television AB (SVT), Film I Väst Origine Danimarca 2010, Hævnen Formato e durata 35mm – colore – 2.35:1 – Dolby SRD – 113’ CAST ARTISTICO Anton Mikael Persbrandt Marianne Trine Dyrholm Claus Ulrich Thomsen Elias Markus Rygaard Christian William Jøhnk Nielsen Preside Bodil Jørgensen Signe Elsebeth Steentoft Niels Martin Buch Hanne Anette Støvlebæk Lars Kim Bodnia - 2 – IL FILM Accolto trionfalmente all’ultimo Festival Internazionale del Film di Roma, In un mondo migliore ha conquistato il Gran Premio della Giuria e il Premio del Pubblico, due riconoscimenti prestigiosi che vanno ad aggiungersi alla nomina a candidato ufficiale della Danimarca al premio Oscar. La vicenda del film ha per protagonisti Anton e Marianne, due medici in crisi matrimoniale, e Elias, il figlio adolescente, vittima dei bulli della scuola. -
TRANSIENT SPACES in NICOLAS WINDING REFN's – Drive, Only God Forgives & the Neon Demon –
UNIVERSITÉ TOULOUSE II JEAN JAURÈS Mémoire de Master 2 Recherche Département Études du Monde Anglophone TRANSIENT SPACES IN NICOLAS WINDING REFN'S – Drive, Only God Forgives & The Neon Demon – Lola PONS | n° étudiant : 21300462 Sous la direction de M. David ROCHE 2016/2018 ACKNOWLEDGEMENTS I would first like to express my gratitude to M. David Roche, for his precious advice, and especially for his trust, patience, and understanding. His guidance enabled me to successfully complete this thesis as well as the one preceeding it. I would also like to thank Flo for his uncanny ability to make an appearance at the right time, and Unnie for her constant support in the face of my dramatic whining. Finally, I would also like to thank the professors of the Film Studies Department of the DEMA for sparking my interest in Film Studies and Cinema (and for keeping the spark very much alive over the past five years). CONTENTS INTRODUCTION.................................................................................................................................. 1 CHAPTER 1: SHAPING TRANSIENCE AND TRANSIENT SPACES......................................................... 9 ➢ TRANSIENT CHARACTERS...................................................................................................... 9 ➢ TRANSIENCE AND CORPOREALITY......................................................................................... 20 ➢ TRANSIENT SPACES................................................................................................................ 27 -
THE NOTEBOOK (Le Grand Cahier) Directed by János Szász
Mongrel Media Presents THE NOTEBOOK (Le Grand Cahier) Directed by János Szász A film by János Szász (104 min., Hungary, 2013) Language: Hungarian Distribution Publicity Bonne Smith Star PR 1028 Queen Street West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1H6 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/ SYNOPSIS Towards the end of World War II, people in big cities are at the mercy of air raids and death by starvation. A desperate young mother leaves her 13‐year‐old twin sons at their grandmother’s house in the country, despite the fact that this grandmother is a cruel and bestial alcoholic. The villagers call her “the Witch” because she is rumored to have poisoned her husband long ago. Previously pampered, the twins must learn how to survive alone in their new, rural surroundings. They realize that the only way to cope with the absurd and inhumane world of adults and war is to become completely unfeeling and merciless. By learning to free themselves from hunger, pain and emotion, they will be able to endure future hardships. So they begin their own series of studies: they fortify their spirits by reading the Bible and learning foreign languages. They practice every day to harden their bodies and minds. They hold their hands over flames, cut their legs, arms and chests with a knife and pour alcohol right on their wounds. They desensitize themselves to insults and learn to ignore the more insidious appeals of sentiment and love. -
Pusher Og Svartur Á Leik Pusher Og Svartur Á Leik Pusher Og Svartur Á Leik
Hugvísindasvið Pusher og Svartur á leik En komparativ filmanalyse med fokus på beskuerens reception af virkelighedspræsentationen og den realitet filmene udspringer af Ritgerð til B.A.-prófs í dönsku Þorbjörg Erla Sigurðardóttir September 2012 Háskóli Íslands Hugvísindasvið Danska Pusher og Svartur á leik En komparativ filmanalyse med fokus på beskuerens reception af virkelighedspræsentationen og den realitet filmene udspringer af Ritgerð til B.A.-prófs í dönsku Þorbjörg Erla Sigurðardóttir Kt.: 170967-4969 Leiðbeinandi: Þórhildur Oddsdóttir og Susanne Antoinette Elgum September 2012 Resumé I år havde den islandske film Svartur a leik (2012) premiere og en af den allerstørste islandske publikumsmagnet i islandsk filmhistorie. Filmen tegner et sort billede af Reykjavik’s underverden og skildrer desuden de radikale ændringer som fandt sted i den kriminelle underverden omkring årtusindeskiftet. Svartur a leik siges at være under indflydelse af Pusher (1996) som fik kæmpe succes både i Danmark og udenlands. Filmene anses for at være, hver i sit land „den første realistiske kortlægning af narkotikahandel som foregår i forbrydermiljøet“ men på hver sin måde og fra forskellig synsvinkel. Opgaven går ud på komparativ filmanalyse med hensyn til indhold, stil, miljø og samfund samt den virkelighed filmene har deres rødder og udspringer af. I den første del er der lagt vægt på baggrundsemne som knyttes til filmene, både direkte og indirekte. Dernæst kommer selve filmanalysen hvor fokussen ligger på værkanalysen eller filmens indhold og i kølvandet følger så den filmtekniske analyse. Derefter er filmene sat i et perspektiv i relation til dens virkelighed og samfundsmæssige forhold. Jeg vil endvidere se på hvilke områder filmene adskiller sig, og på hvilke områder de ligner hinanden, og i hvor høj grad vi befinder os i en realistisk verden i filmene. -
Investigating Nordic Noir
Investigating Nordic Noir By Sofia Alexi A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts Victoria University of Wellington 2017 3 Abstract Alexi Sofia, Film Studies, Victoria University of Wellington Abstract of Master’s Thesis, Submitted 10 April 2017: “Investigating Nordic noir” Scandinavian crime films and television series have become popular in recent years. This thesis explores some of the key texts in ‘Nordic noir’ through a discussion of detectives, the environment, and visual style. The emphasis in the project is on textual analysis. The first chapter examines the figures of Wallander and Lund in Wallander and Forbrydelsen respectively. I argue that the conflicts Nordic detectives often have between work and the domestic sphere are an indication of how gender stereotypes are challenged in the Scandinavian crime genre. The second chapter considers the role of the natural and built environments in Nordic noir. Features such as forests and water play a crucial role in Forbrydelsen because of the ways in which they create uncertainty, anticipation, and suspense. The urban spaces of Bron/Broen develop a sense of anonymity that recalls the function of the city in classic film noir. Rather than developing links between Sweden and Denmark, the series suggests that the Øresund bridge that spans the two countries is ultimately a disconnecting, centrifugal force that functions as what Marc Augé would call a ‘non-place’. The final chapter considers the role of colour and light in the films Insomnia and Jar City. My analysis demonstrates that Nordic noir encompasses more than naturalism and realism. -
Drama Directory 2014
2014 UPDATE CONTENTS Acknowlegements ..................................................... 2 Latvia .......................................................................... 122 Introduction ................................................................. 3 Lithuania ................................................................... 125 Luxembourg ............................................................ 131 Austria .......................................................................... 4 Malta .......................................................................... 133 Belgium ...................................................................... 10 Netherlands ............................................................. 135 Bulgaria ....................................................................... 21 Norway ..................................................................... 145 Cyprus ......................................................................... 26 Poland ........................................................................ 151 Czech Republic ......................................................... 31 Portugal .................................................................... 157 Denmark .................................................................... 36 Romania ................................................................... 160 Estonia ........................................................................ 42 Slovakia ................................................................... -
The Vanishing and Nightwatch
The Vanishing and Nightwatch By Steven Jay Schneider Spring 2002 Issue of KINEMA REPACKAGING RAGE: THE VANISHING AND NIGHTWATCH It’s the same movie, only completely different. It follows the same plot, except where it changes everything. - Desmond Howe, on The Vanishing(1) As for the work of Bornedal, I’d best reserve comment. ...Maybe he looked at the final cut and said, ”Mik bortaagë dåntü ødån!” (”This is f...in’ great!”). Maybe it’s a great film in Denmark, but it’s a terrible, terrible movie in America. - Shane Ham, on Nightwatch(2) Sometimes the devil is in the details. - Barney Cousins (Jeff Bridges) in The Vanishing In 1988, Spoorloos, a Dutch thriller directed by George Sluizer, premiered in the Netherlands to packed houses and rave reviews. Six years later, in 1994, Ole Bornedal’s Danish thriller Nattevagten was released in its home country, also to critical and commercial acclaim. Besides evincing a clear Hitchcockian influence, both pictures were made on relatively low budgets, both exhibit a bizarre sense of humour, and both took home multiple awards at prestigious European film festivals. In 1993, The Vanishing, a big-budget Hollywood thriller produced by 20th Century Fox, made its debut on screens throughout the United States after a great deal of fanfare. Five years later, Dimension Films (the so-called ”genre division” of Miramax), released a thriller of its own entitled Nightwatch. Both films were financial and critical failures, condemned for their inability to generate more than a modicum ofsuspense. That is not all they have in common: both films star big-name actors, both are distinctly unfunny, and both were completely forgotten during awards time.