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The Transnational Capacities and Narrative Preferences Within Danish Screenwriting Practices

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The Transnational Capacities and Narrative Preferences within Danish Screenwriting Practices by Cath Moore MA (Screenwriting) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Deakin University November, 2018 Acknowledgements Thank you to Dr Virginia Murray, Dr Patrick West and Dr Radha O’Meara for your support and guidance throughout. Much gratitude to Annemarie Levin; my friend and Danish translator, and the Danish interviewees Pernille Fisher Christensen, Marianne Moritzen, Birgitte Hjort Sorensen, Sidsel Hybshmann and Sisse Graum Jorgensen. I am humbled by the time, patience, insight and humour provided by Kim Fupz Aakeson, mange tak. Friends and family, your encouragement and love sustained me throughout and I am beyond grateful. I am indebted to Professors Deb Verhoeven and Sean Redmond. Your combined intellect, (com) passion, humour, insight, persistence and rigour is astonishing. Your support, validation and guidance has been invaluable. Baring witness to this seemingly never-ending journey, I am ever grateful to Andreas, Ishika and Felix. You are my every things. Thank you, dad, for your encouragement, words of wisdom and support when I needed it most. Ma, det er til dig. For your 43 years of tireless support, patience and love. Your own achievements are beyond compare. Your compassion and integrity, a constant inspiration. Tak for alt. Jeg elsker dig. Danish Screenwriting Practices Cath Moore 3 Publication List – Parts of Chapter 1 were presented in a paper entitled ‘Crossing the Great Divide, the Transnational Capacities and Permeation of Scandinavian Cinema in Australia’ at the ECREA Film Studies Section Conference, European Cinemas, Intercultural Meetings: Aesthetics, Politics, Industry, History, 13-14th November 2015 at the University of Copenhagen. https: //europeancinemainterculturalmeetings.wordpress.com/ – Parts of Chapter 2 were presented at the annual Screenwriting Research Network (SRN) Conference, ‘Screenwriting and Directing Audiovisual Media,’ 17-19th October in Potsdam 2014 http: //2d00943j5k9939d0tw23mhgy.wpengine.netdna- cdn.com/files/2014/12/SRN_Program_Overview-web.pdf This paper was subsequently published as a chapter entitled ‘Riding the Wave; creative preferences, spatial tension and transnational story components in the collaborations of Susanne Bier and Anders Thomas Jensen’ in the Journal of Screenwriting, Volume 6, Number 3, 1 September 2015, pp. 363-378. http: //www.ingentaconnect.com/content/intellect/josc/2015/00000006/0000000 3/art00008?crawler=true – Additional parts of Chapter 2 were published in an article titled ‘Position- in-frame: gendered mobility, legacy and transformative sacrifice in the screen stories of Susanne Bier,’ in Journal of the MCCSA Postgraduate Network, June 2017, 10(2), pp. 55-69. https: //ojs.meccsa.org.uk/index.php/netknow/article/view/505 – Parts of Chapters 2 and 3 were published as a book chapter entitled ‘From Local to Global: The Bier-Jensen Screenwriting Collaboration’ in Refocus: The Films of Susanne Bier, Meryl Shriver-Rice, Missy Molly and Mimi Nielsen (eds) Edinburgh University Press Ltd, April 2018. https: //edinburghuniversitypress.com/book-refocus-the-films-of-susanne- bier.html Danish Screenwriting Practices Cath Moore 4 Abstract Increasingly situated at the intersection of local and global concerns, Danish national cinema promotes a discourse on disparate cultural identities and knowledge. International acclaim afforded Denmark’s contemporary screen industries reflects the nation’s increasingly globalized audio-visual capacity. This research examines a number of factors that contribute towards this transnational reach. The dimensions of Danish cinema have largely been addressed within the academy according to industrial mechanisms, rather than interpersonal dynamics or cultural proclivities that inform the development of screen narratives. This thesis engages with the story behind the story; specifically how screenwriting as a modality of film practice can be considered in relation to the discourse on transnational cinema practices, and how filmmaking relationships facilitate Denmark’s reach beyond a Scandinavian context. Danish screenwriting practice is examined as a series of inter-disciplanary negotiations and co-operative experiences. The writer/director dynamic within script development is located not only as a distinctly Danish inclination but an important component of transnational storytelling. This research also articulates the resourcefulness evidenced within both Danish film policy and practice, specifically regarding the application of strategic collectivism as both cultural sentiment and a creative approach to filmmaking within a small nation context. Danish screen practice can be understood as a network of strategies, relationships and creative preferences that promote Danish filmmaking as an internationally driven industry. Through a close reading of three feature film narratives I examine how dislocated selfhood and the othered child as recurring motifs, have been activated through expressions of genre and in doing so, present a distinctly Danish approach to transnational cinema practice. I explore how expressions of the local/global binary service the interrogation of both personal trauma and redemption as key dramatic threads. As an instructive facet of meaning making I reinterpret, challenge and negotiate these preferences within my own screenplay as creative practice, connecting practical and theoretical modules within the text. Danish Screenwriting Practices Cath Moore 5 Table of Contents Acknowledgements 3 Publication List 4 Abstract 5 Introduction 1 0.1 Transglobal Pathways – The Outward Leaning Gaze of Danish Cinema 1 0.2 Inde i verden – Denmark as Small Film Nation 3 0.3 Chapter Overview 5 0.4 Methodological Framework 8 0.5 Rationale and Significance 13 Chapter 1 A Dialogue on Danishness: Theorizing Screenwriting, Script Development and the Small Film Nation 16 1.1 Denmark as a Globalized Small Film Nation 16 1.1.1 Transcendence to the Transnational: Navigating the Local/Global Binary in Theory and Practice 18 1.2 The Transformative Promise: Contextualizing the Screenplay, Screen Idea and Script Development 20 1.2.1 Theories on Authorship 26 1.2.2 Collaboration and the Screenplay as Transitional Space 29 1.3 A Collaborative Landscape: The Impact of Cultural and Creative Systems on Danish Filmmaking Practices 31 1.3.1 The Influence of Jante Law and Dogme 95 on Danish Collaborative Practice 32 Chapter 2 National Gatekeepers: The Bier/Jensen Global Story Model and Stylistic Iterations of the Melodrama 35 2.1 The Writer/Director Relationship – A Uniquely Danish Dynamic 36 2.1.1 Cinematic Denmark as Global Nation State 37 2.1.2 Transnational Tent Poles: Melodrama and the Identity of Disconnect 40 2.1.3. The Fractured Self: Interrogating Personal Trauma and Loss 42 2.2 Situating Spatial Tension: Ethics, Emotion and Dramatic Locale in the Screen Stories of Efter brylluppet / After The Wedding (2006) and Haevnen / In A Better World (2010) 46 2.2.1 World View: Global North Privilege and Penance 49 Danish Screenwriting Practices Cath Moore 6 2.2.2 Gender Representation and the Transformative Sacrifice 53 2.2.3 A Masculinized Legacy of Knowledge and Violence 57 Chapter 3 Narrative Structure and Story Development Practices in En Du Elsker/Someone You Love (2014) 64 3.1 Story World Orientation and the Domestic/Foreign Binary 65 3.1.1 Together Alone: the dislocated self as structural concern 68 3.1.2 Expressions of Family: Genre, Theme and Subject as markers of Transnational Access 70 3.2 The Creative and Structural Application of a ‘Sound Universe’ 73 3.2.1 Tracking Transformation: Music as Emotional Subtext 78 3.3 Lost and Found in Translation(s) 85 Chapter 4 The Watchful Child: Accusation, Acknowledgement and Acceptance in En du elsker/Someone You Love (2014) 88 4.1 The Path to Redemption: Standing at the Crossroads of Childhood and Adulthood 90 4.1.1 The Text as Craft: Behavioural Cues, Power Dynamics and the Character Gaze as Dramatic Device 93 4.1.2 Character Transition between Spatial Locales 103 4.2 In-text music: The Transnational Identities of Diegetic Sound 104 Chapter 5 The Dislocated Self as Transnational Identity: Reflection on Creative Practice 108 5.1 Eyes on the Page: Situating the Writer’s Gaze 112 5.1.1 A Quiet Companion: Writer’s Notes on Location 114 5.1.2 Character: Purpose and Position in the Story World 115 5.1.3 Plot: The Structure and Substance of Character Desire 118 5.2 The Dislocated Self as Transglobal Motif: Speaking to the World Outside the Frame 120 5.2.1 Comparative Textual Analysis 122 5.2.2 Sourcing Sorrow and Healing: Diegetic Sound and the Transformative Journey 129 5.3 Future Directions and the ‘What if’ Game 131 Danish Screenwriting Practices Cath Moore 7 Conclusion 134 6.1 Envisioning the Future – How We See, Read and Understand the Screenplay as a Creative Labour 136 6.1.2 ‘A Story by…’: Acknowledging Collaborative Storytelling in Danish Script Development 137 6.1.3 Full Circle: Denmark as Initial and Prevailing Source of Inspiration 139 References 141 Bibliography 141 Filmography 150 Danish Screenwriting Practices Cath Moore 8 Appendix A 152 First Contact: Practitioner Interviews with the Screenwriter, Director and Producer of En du elsker / Someone you Love (2014) 152 Appendix B 167 Editorial Script Notes for 'A Quiet Companion' 167 Further Research Correspondence 170 Appendix C 172 Screenplay as Creative Practice: 'A Quiet Companion' 173 Danish Screenwriting
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