DOCSLIB.ORG

Film Institute

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Film Institute P FACTS & FIGURES 2005 ll DANISH FILM INSTITUTE PRODUCTION AND EXHIBITION FIGURES FOR 2004 FACTS & FIGURES 2005 PAGE 4 01. BUDGET & ORGANISATION PAGE 5 02. CINEMAS & DISTRIBUTION PAGE 6 03. FEATURE FILM PRODUCTION PAGE 7 04. FEATURE FILM RELEASES PAGE 8 05. ADMISSIONS & MARKET SHARES PAGE 11 06. PUBLIC SERVICE TELEVISION AND VIDEO PAGE 12 07. DANISH FEATURE FILM ABROAD PAGE 13 08. SHORTS & DOCUMENTARIES PAGE 14 09. DFI CENTRE FOR CHILDREN & YOUTH FILM PAGE 15 10. DFI CINEMATHEQUE, LIBRARY & ARCHIVES The public film sector in Denmark Ministry of Culture National Film School Danish Film Institute Danish Broadcasting TV 2/Danmark Media Council of Denmark - Established 1997 Corporation / DR TV - Majority of finance for Children & Youth - Established 1966 Previous Institute 1972 - Financed through licence fees from advertising - Established 1997 Production & Development Distribution & Marketing Archive & Cinematheque Management & Administration New Danish Screen DFI Film Workshop Centre for Children Film-X - Established 2003 - Established 1977 & Youth Film Interactive film studio - Established 1997 for children and adolescents SOURCES: PUBLISHED BY The Danish Film Institute 2005 Statistics Denmark, Danish Film Institute, European Audiovisual Observatory (LUMIÈRE EDITORS Claus Hjorth database), Media Secretariat Denmark, Association of Danish Videogram Distributors, Agnete Dorph Stjernfelt European Commission. GRAPHIC DESIGN Rasmus Koch Aps PRINTED BY Centertryk ABBREVIATIONS, ETC.: CIRCULATION 3,000 … Data unavailable at time of print c Children Comments to [email protected] or [email protected]. GBO Gross Box Office incl. VAT m Million NFTF Nordic Film & Television Fund y Youth All economic figures are in Euros unless otherwise specified. The euro exchange rate used here is 7.4430 (1 March 2005). Economic figures have not been regulated. Economic figures have been rounded. Due to rounding, figures may differ from manual calculations. For the latest figures on the Danish film sector, plus recent and coming releases, articles and publications, go to www.dfi.dk. PAGE 2 / Facts & Figures 2005 / Danish Film Institute FACTS & FIGURES 2005 FACTS 22 Danish feature films received production 6 Danish features —at least —have been on the support from DFI in 2004. Average production top 20 list in Denmark every year since 1999. budget 2.2m euros. Average government subsidy 38%. 12 Danish feature films were seen by the average Dane on Danish public television 2.7m euros will be spent on development channels in 2004. in 2005, equivalent to more than 10% of the total production expenditure. 25m tickets sold in Europe and USA to the 20 best performing Danish feature films outside 4.5m euros will be spent on distribution Denmark in the period 1996-2004. and promotion of Danish films domestically and internationally in 2005. 38 Danish short & documentary films received production support from DFI in 2004. 3,6m euros will be spent on developing new talents and experimental projects under 82,199 school children participated in DFI the New Danish Screen programme in 2005. educational programmes in 2004. 73% of the total theatrical market in 62 films were restored at the DFI Film Archive Denmark is held by Danish/Scandinavian in 2004. distributors. 1,027 titles were screened at the DFI 163 cinemas in Denmark total 380 screens Cinematheque in 2004. and 57,000 seats. 109,464 admissions in the DFI 25% domestic market share for Danish Cinematheque in 2004. feature films in the period 1999-2004. Danish Film Institute / Facts & Figures 2005 / PAGE 3 BUDGET & ORGANISATION BUDGET & ORGANISATION The national film agency, the Danish Film Institute (DFI), operates under the Ministry of Culture according to the Film Act (1997). Since 1999 the financial framework and the 01 political objectives for the Danish film policy have been laid down in four-year political agreements decided by the Danish Parliament. The first Film Policy Accord covered the period 1999-2002. The current Film Policy Accord covers the period 2003-2006. TABLE 1.1 / Key figures, Denmark (Euros) Population /2004 Inhabitants: 5.4m Government budget for cinema activities /2005 50.8m DFI operating costs /2005 (included above) 14.6m Production volume, Danish feature films /2004 Titles: 22 47.6m Government subsidies, Danish feature films /2004 17.9m Production volume, Danish shorts & documentaries /2004 Titles: 38 11.4m Government subsidies, Danish shorts & documentaries /2004 4.3m Number of cinemas and screens in Denmark /2004 Cinemas: 163 Screens: 380 Danish feature film releases /2004 Titles: 19 Admissions: 3.4m Market share, Danish feature films in Denmark /2004 Share: 24% TV audience for recent Danish feature films on public service television /2004 Average: 0.9m Average share: 17% Danish feature films distributed in Europe (outside Denmark) /2003 Titles: 29 Average admissions: 0.1m Danish feature films at foreign festivals /2004 Titles: 94 Deposits/sales of shorts & documentaries to libraries and schools /2004 Titles: 1,123 Copies: 18,303 TV audience for Danish shorts & documentaries on public service television /2004 Average: 0.2m Danish shorts & documentaries at foreign festivals /2004 Titles: 139 DFI educational programme for school children /2004 Screenings: 626 Participants: 82,199 Festival screenings for children & youth in Denmark /2004 Screennings: 342 Admissions: 31,993 DFI Cinematheque /2004 Screenings: 2,036 Admissions: 109,464 DFI Videotheque /2004 Visitors: 7,288 DFI Library /2004 Loans: 25,174 DFI Film archive, copies registered /2004 Copies: 33,446 DFI stills & posters archive, stills /2004 Titles: 49,600 TABLE 1.2 / DFI budget 2005 Dkk 1000s Euro 1000s Dkk 1000s Euro 1000s PRODUCTION & DEVELOPMENT DISTRIBUTION & MARKETING SUBSIDIES Feature films subsidies Feature film subsidies Consultant scheme: Script 5,000 670 Promotion & Marketing subsidies 12,000 1,610 Consultant scheme: Development 10,000 1,340 Print subsidies 6,000 810 Consultant scheme: Production 88,000 11,820 Festival subsidies, Denmark & abroad 5,300 710 60/40 scheme: Production 41,400 5,560 Import subsidies 2,900 390 Total feature film production and development 144,400 19,400 Miscellaneous 700 90 Total feature film, distribution & marketing 26,900 3,610 Shorts & documentaries subsidies Consultant scheme: Script & development 5,000 670 Shorts & documentaries subsidies Consultant scheme: Production 29,900 4,020 Promotion & Marketing subsidies 1,500 200 Consultant scheme: Talentpool 2,000 270 Print subsidies 500 70 Total shorts & documentaries production and development 36,900 4,960 Festival subsidies, Denmark & abroad 3,000 400 Miscellaneous 1,800 240 Other subsidies Total shorts & documentaries, distribution & marketing 6,800 910 Workshops, internal & external 5,400 730 Eurimages & NFTF 8,100 1,090 Cinema subsidy 5,500 740 Miscellaneous 2,600 350 Centre for Children & Youth Film 3,000 400 TOTAL PRODUCTION & DEVELOPMENT 197,400 26,530 TOTAL DISTRIBUTION & MARKETING 42,200 5,670 NEW DANISH SCREEN 26,900 3,610 OTHER SUBSIDIES 2,500 340 TOTAL SUBSIDIES 269,000 36,140 DFI OPERATION COSTS Production & development 14,600 1,960 Distribution & marketing 20,300 2,730 Museum & cinematheque 23,000 3,090 Talent pool 1,700 230 Administration 13,500 1,810 Other 35,600 4,780 TOTAL OPERATION COSTS 108,700 14,600 DFI TOTAL BUDGET 2005 377,700 50,750 PAGE 4 / Facts & Figures 2005 / Danish Film Institute CINEMAS & DISTRIBUTION CINEMAS & DISTRIBUTION For more than a decade, over 160 cinemas have been in operation in Denmark. Feature film distribution in Denmark is dominated by six key players: SF Film, Nordisk, Sandrew 02 Metronome, UIP, Buena Vista and Angel Films. TABLE 2.1 / Ownership of cinemas /2004 TABLE 2.3 / Vertical integration /2004 Owner cinemas screens seats Distributors that own cinemas Cinemas Screens Seats Nordisk Film 15 96 15,136 Nordisk Film 14 91 14,276 Cinemaxx 3 28 6,460 Sandrew Metronome 2 16 2,716 Sandrew Metronome 2 16 2,716 Camera Film (Grand Teatret) 1 6 483 Other private owners 67 154 21,517 Øst for Paradis 1 4 311 Public (municipal boroughs) 15 20 3,065 Husets Biograf 1 1 62 Organizations 61 66 8,120 Total 163 380 57,014 Hereof multiscreens cinemas 71 TABLE 2.2 / Distributor market share /2004 Distributor Films Hereof Danish Admissions Percent of total screened first run releases admissions UIP 125 0 3,302,467 26% Sandrew Metronome 91 4 3,222,456 25% Nordisk 103 11 3,056,927 24% SF Film 90 2 2,179,321 17% Angel Scanbox 39 1 609,728 5% Øst for Paradis 58 0 146,706 1% Camera Film 39 0 88,951 1% Regner Grasten Film 1 1 62,401 0% Marco Film 21 0 34,843 0% Miracle Film 66 0 38,986 0% Husets Biograf 5 0 19,387 0% Posthus Teatret 6 0 6,172 0% Sunrise 3 0 4,476 0% Others 4 0 14,639 0% Total 651 19 12,787,460 100% Danish Film Institute / Facts & Figures 2005 / PAGE 5 FEATURE FILM PRODUCTION FEATURE FILM PRODUCTION DFI is responsible for supporting and encouraging the art of filmmaking. State aid is directed at production of feature films under two principal subsidy schemes: the 60/40- 03 scheme (primarily oriented at feature films with a commercial potential) and the con- sultant scheme (primarily oriented at feature films with an artistic and experimental potential). A minimum of 25% of DFI development and production funding must be earmarked for films for children and youth. TABLE 3.1 / Danish feature films – Majors with DFI subsidy commitment /2004 English title/Danish title Production budget DFI subsidy Subsidy percent TV station International Type Children & youth Adam's apples/Adams æbler 2,875,000 1,082,000 38%
Load more

Recommended publications
  • Evolution and Ambition in the Career of Jan Lievens (1607-1674)
    ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality.
    [Show full text]
  • A History of German-Scandinavian Relations
    A History of German – Scandinavian Relations A History of German-Scandinavian Relations By Raimund Wolfert A History of German – Scandinavian Relations Raimund Wolfert 2 A History of German – Scandinavian Relations Table of contents 1. The Rise and Fall of the Hanseatic League.............................................................5 2. The Thirty Years’ War............................................................................................11 3. Prussia en route to becoming a Great Power........................................................15 4. After the Napoleonic Wars.....................................................................................18 5. The German Empire..............................................................................................23 6. The Interwar Period...............................................................................................29 7. The Aftermath of War............................................................................................33 First version 12/2006 2 A History of German – Scandinavian Relations This essay contemplates the history of German-Scandinavian relations from the Hanseatic period through to the present day, focussing upon the Berlin- Brandenburg region and the northeastern part of Germany that lies to the south of the Baltic Sea. A geographic area whose topography has been shaped by the great Scandinavian glacier of the Vistula ice age from 20000 BC to 13 000 BC will thus be reflected upon. According to the linguistic usage of the term
    [Show full text]
  • BIO Jakob Cedergren UK 2019
    Jakob Cedergren Jakob Cedergren, born in Sweden, raised in Denmark, is an acclaimed award winning actor who had his breakthrough in 2000 in the Danish mini-series The Spider directed by Ole Christian Madsen. Cedergren has worked in numerous film- tv- and theatre projects in Denmark and abroad. One of Cedergrens first leading roles abroad was Rage (2009) by Sally Potter. On stage, Cedergren stood out in the production of The Celebration (2003), Virginia Wolf (2004) and Ordet (2008) at The Royal Danish Theatre. In 2013, he played the role of Nikolaj Stavrogin in the stage adaptation of Dostoyevsky’s novel Demons at the Royal Danish Playhouse. Cedergren has proved his richly faceted talent in numerous of films. Among others, in the role of the bodybu- ilding small time crook Tom in Stealing Rembrandt (2003) and in the role of Daniel, the irresponsible, care- free and charming graffiti artist in the comedy Dark Horse (2005), which was chosen for the Un Certain Re- gard series at Cannes Film Festival. In 2005, Cedergren was appointed Shooting Star under the EFP pro- gramme. In 2009, Cedergren won both the Danish Academy Award and the Critics Associations Award for Best Actor in the featureTerribly Happy (2008) directed by Henrik Ruben Genz. He was nominated for both awards again in 2011 for his leading role in Thomas Vinterberg’s Submarino. In 2014, he was nominated for his lead- ing role in Nils Malmros’ Sorrow and Joy. In 2017, he was nominated for Best Supporting Actor in director Nicolo Donato’s Across the Waters (2016) for his role of N.B.
    [Show full text]
  • Rembrandt Remembers – 80 Years of Small Town Life
    Rembrandt School Song Purple and white, we’re fighting for you, We’ll fight for all things that you can do, Basketball, baseball, any old game, We’ll stand beside you just the same, And when our colors go by We’ll shout for you, Rembrandt High And we'll stand and cheer and shout We’re loyal to Rembrandt High, Rah! Rah! Rah! School colors: Purple and White Nickname: Raiders and Raiderettes Rembrandt Remembers: 80 Years of Small-Town Life Compiled and Edited by Helene Ducas Viall and Betty Foval Hoskins Des Moines, Iowa and Harrisonburg, Virginia Copyright © 2002 by Helene Ducas Viall and Betty Foval Hoskins All rights reserved. iii Table of Contents I. Introduction . v Notes on Editing . vi Acknowledgements . vi II. Graduates 1920s: Clifford Green (p. 1), Hilda Hegna Odor (p. 2), Catherine Grigsby Kestel (p. 4), Genevieve Rystad Boese (p. 5), Waldo Pingel (p. 6) 1930s: Orva Kaasa Goodman (p. 8), Alvin Mosbo (p. 9), Marjorie Whitaker Pritchard (p. 11), Nancy Bork Lind (p. 12), Rosella Kidman Avansino (p. 13), Clayton Olson (p. 14), Agnes Rystad Enderson (p. 16), Alice Haroldson Halverson (p. 16), Evelyn Junkermeier Benna (p. 18), Edith Grodahl Bates (p. 24), Agnes Lerud Peteler (p. 26), Arlene Burwell Cannoy (p. 28 ), Catherine Pingel Sokol (p. 29), Loren Green (p. 30), Phyllis Johnson Gring (p. 34), Ken Hadenfeldt (p. 35), Lloyd Pressel (p. 38), Harry Edwall (p. 40), Lois Ann Johnson Mathison (p. 42), Marv Erichsen (p. 43), Ruth Hill Shankel (p. 45), Wes Wallace (p. 46) 1940s: Clement Kevane (p. 48), Delores Lady Risvold (p.
    [Show full text]
  • CV Paprika Steen UK 2019
    Paprika Steen Playing age: 45-55 Nationality: Danish Education: The Academy of Music and Dramatic Arts, Southern Denmark, 1988-1992 Language: Danish, English and knowledge of German Film Title Role Year Director Domino Hanne Toft 2019 Brian de Palma That Time of Year Katrine 2018 Paprika Steen Undercover Hanne 2016 Nikolaj Peyk Antboy III Alicia Dufort 2015 Ask Hasselbalch Silent Heart Heidi 2014 Bille August Kolbøttefabrikken Acacia 2014 Morten Boesdal Halvorsen Weekendfar (short) Helle 2013 Johan Stahl Winthereik Love Is All You Need Benedikte 2012 Susanne Bier Keep the Lights On Karen 2012 Ira Sachs Superclásico Anna 2011 Ole Christian Madsen Everything Will Be Fine Siri 2010 Christoffer Boe Skeletons Jane 2010 Nick Whitfield Applause Thea Barfoed 2009 Martin Zandvliet Fear Me Not Sigrid 2008 Kristian Levring The Early Years: Erik Nietz.. Ursula Østdal 2007 Jacob Thuesen The Substitute Ulla Harms 2007 Ole Bornedal Adam’s Apples Sarah Svendsen 2005 Anders Thomas Jensen Forty Shades of Blue Lonni 2005 Ira Sachs Stealing Rembrandt Charlotte 2003 Jannik Johansen Open Hearts Marie 2002 Susanne Bier Okay Nete 2002 Jesper W. Nielsen The One and Only Stella 1999 Susanne Bier Mifune Pernille 1999 Søren Kragh-Jakobsen The Idiots High Class Lady 1998 Lars von Trier The Celebration Helene 1998 Thomas Vinterberg TV Title Role Year Director The City & The City Professor Nancy 2018 BBC Modus II Alva Roos 2017 TV4 Under Jorden Naja Toft 2017 Kasper Barfoed/TV2 Partiets Mand Kirsten Hækkerup 2014 Parminder Singh/DR Happy Life Lene Leth 2011-12 Kasper Gaardsøe/TV2 The Inspector and the Sea Line Anders 2007-14 Anno Saul/ZDF Mikkel & Guldkortet Birgitte Johansen 2008 Christian E.
    [Show full text]
  • Submarino a Film by Thomas Vinterberg 01 Submarino Submarino
    SUBMARINO A FILM BY THOMAS VINTERBERG 01 SUBMARINO SUBMARINO INTRODUCTION SUBMARINO is the story of two down-and-out brothers haunted by a tragic childhood. Troubled ex-con Nick fights painful memories and loneliness to try and reconnect with his brother, a struggling single father and heroin addict... From the acclaimed director of FESTEN (THE CELEBRATION), DEAR WENDY and IT’S ALL ABOUT LOVE. 02 03 SUBMARINO SUBMARINO SYNOPSIS Not yet out of elementary school, Nick and his younger brother have already been hardened by Nick communicates more easily with his ex-girlfriend’s brother Ivan. He opens up about having poverty, abuse and alcohol. But these two tough boys still find joy in their newborn baby brother. been recently released from prison for his brutal random violence when Ana broke up with him They gladly make up for the shortcomings of their neglectful alcoholic mother and give the infant two years ago. Nick has a soft spot for sex-obsessed overweight Ivan, down-and-out himself and in the loving care which all children deserve. Although shortlived, this glimmer of hope will haunt need of mental help. But Nick’s compassion misjudges the reality of Ivan’s illness... them well into adulthood... Nothing is more important to Nick’s brother than his six-year-old son Martin. No matter how much It’s winter and 30-something Nick is living alone in a gloomy tenement shelter. Moody and he loves his son, being a responsible father isn’t easy for a junkie. Despite the fact that he could anguished, Nick has difficulty controlling his anger.
    [Show full text]
  • The Leiden Collection
    © 2017 The Leiden Collection Young Girl in a Gold-Trimmed Cloak Page 2 of 14 Young Girl in a Gold-Trimmed Cloak 1632 Rembrandt van Rijn oil on oval panel (Leiden 1606 – 1669 Amsterdam) 59 x 44 cm signed and dated in dark paint along the background, center right: “RHL van Rijn / 1632” RR-104 Currently on view at: The National Museum of China, Beijing How To Cite Manuth, Volker. "Young Girl in a Gold-Trimmed Cloak." In The Leiden Collection Catalogue. Edited by Arthur K. Wheelock Jr. New York, 2017. https://www.theleidencollection.com/archive/. This page is available on the site's Archive. PDF of every version of this page is available on the Archive, and the Archive is managed by a permanent URL. Archival copies will never be deleted. New versions are added only when a substantive change to the narrative occurs. © 2017 The Leiden Collection Young Girl in a Gold-Trimmed Cloak Page 3 of 14 One of the miracles of Rembrandt van Rijn’s paintings of individuals is that Comparative Figures the expressions of his sitters never seem frozen. Even their personalities seem to evolve as one interacts with their gazes. These qualities are particularly evident in this charming depiction of an elegantly robed young girl with curly, somewhat frizzy blond hair. Although she stares directly at the viewer from the center of this oval panel, the slight twist of her body, with one shoulder higher than the other, helps soften her formal appearance. Light falling from the upper left also enlivens her presence by picking up nuances of her features, including her pronounced forehead, her somewhat asymmetrical eyes, the slight pout of her mouth, and the beginnings of a double chin.
    [Show full text]
  • Superheroes Come in All Sizes Preface
    NIMBUS FILM PRESENTS SUPERHEROES COME IN ALL SIZES PREFACE The world’s gone awry! Out of nowhere comes a superhero -- flying! come from alien worlds, but the vast majority are ordinary people just because the superhero is. The time has come to show exactly Imagine if you were a superhero. Then you could actually do some- who have had super powers thrust upon them. So kids and adults what a true superhero is, when an ordinary boy in an ordinary town, thing – something super. You could change things, fight injustice and alike find it easy to identify with them and imagine what it’s like to is suddenly faced with the responsibilities of being a superhero. make the world a better place. And of course being able to fly or be in their sandals, hoods or underwear. The time has come for... throw freight trains around is kind of cool as well. But it’s easy to forget that you don’t need to be big or strong to be a ANTBOY From Perseus to Robin Hood to Superman, superheroes have always superhero. You don’t need to be a world famous millionaire to make existed in one form or another. Some are supernatural creatures who a significant difference. The burden of responsibility isn’t smaller, (Film Journalist Casper Christensen, July 2013) SYNOPSIS Pelle Nørhmann is no one special. Just an ordinary 12-year old. A bit Pelle thinks nothing of the bite but that night he’s haunted by myste- powers. Wilhelm is convinced that Pelle must use his powers to be- superpowers.
    [Show full text]
  • 46 Special Issue/Animation
    PROFILES & PRODUCTION MILIEUS DANISH COMPUTER GAMING INDUSTRY THE GROWTH LAYER Denmark, a nation of five million, has an output of one Breakaway hits such as Hitman and Hugo put Den- The National Film School and the Animation Workshop animated feature a year, and an abundance of short mark on the computer gaming world map. Now a new are involved in a close, smoothly running partnership films. FILM presents the flourishing Danish animation wave of Danish computer game makers is following which develops skilled professionals for the Northern industry. suit with a slew of fresh gaming ideas. European animation industry. PAGE 3 –17 PAGE 20 –22 PAGE 23 –25 # 46 SPECIAL l1l ISSUE/ANIMATION FILM IS PUBLISHED BY THE DANISH FILM INSTITUTE, SEPTEMBER 2005 FILM #46 SPECIAL ISSUE / ANIMATION / PAGE 2 l1l SPECIAL ISSUE / ANIMATION INSIDE ����������������������������� ������������������������������� ���������������� �������������������������������������������������������� ����������������������������������������������� ���������������������������������������������������� ������������������������������������������������������� ������������������������������������������������� ������������������������������������������������������ 3 A. FILM / The Danish production company that brought us Help! I’m a Fish and Terkel �������������������������� ������������������������������������������������� ������������������������������������������������������ ���������������������������������������� ���������������������������� ������ ��� ������� ��� ������� ��� in
    [Show full text]
  • Mission Drab...4. Juni 1984 007 I H.Maj
    Titel Dato 007 - Mission Drab..................... 4. juni 1984 007 i H.Maj. hemm. tjeneste........ 5. november 1985 01:01 Skolen i Biografen 9. marts 2007 101 dalmatinere - Hund og hund.. 7. august 1995 101 dalmatinere i levende live....... 19. maj 1997 102 Dalmatinere...................................... 16. marts 2001 12 Monkeys................................ 9. september 1996 16 Blocks 16. oktober 2006 17 op.......................................... 21. september 1985 187........................................... 23. marts 1998 1900 I & II................................ 30. november 1985 1939......................................FK 15. november 1993 1984........................................... 21. oktober 1985 2 ryk og en aflevering 5. december 2003 2012" 15. januar 2010 40 Days and 40 Nights......................... 1. juli 2002 48 timer....................................... 21. maj 1984 48 timer....................................... 29. juli 1985 50 First Dates 23. august 2004 6 dage, 7 nætter 9. november 1998 60 sekunder.......................................... 4. september 2000 7 der hævner............................... 29. april 1985 8 kvinder - og et mord 1. december 2003 8 mm......................................... 28. juni 1999 9 1/2 uge..................................... 14. september 1987 A Clockwork Orange.............FK 24. februar 1986 A Good Year BkDk 20. april 2007 A History of Violence 27. februar 2006 A View To A Kill - 007............... 3. marts 1986 Aberne og det hemmelige våben... 22. maj 1995 About
    [Show full text]
  • FILM#38 / Sept
    MASTER CLASS MED FRANK CORSARO COMPUTERSPIL FOR MILLIARDER BUSTER 2004 Den amerikanske troldmand Frank Corsaro – tidligere FILM taler med forfatteren til rapporten Digital Games En uge med film og arrangementer, der forhåbentlig leder af Actors Studio – kommer til Danmark i – a Danish Perspective, Charlotte Appelgren, som vil bringe nye erkendelser. Et af seminarerne under november og afholder en workshop for danske fortæller, at den danske branche er topscorer, når det BUSTER handler om etik i børne- og ungdomsfilm, og filminstruktører og skuespillere. gælder tildeling af funding til computerspil fra MEDIA i den anledning skriver Per Nielsen, filmkonsulent på programmet. Det Svenske Filminstitut, om fornyelse af filmsproget. SIDE 7 SIDE 12 SIDE 20 l1l FILM UDGIVES OG DISTRIBUERES AF#38 DET DANSKE FILMINSTITUT / SEPT.-OKT. 2004 SIDE 2 / FILM#38 / FILM NYT l1l SEPT.-OKT. 2004 / 5. ÅRGANG #38#38 INDHOLD UDGIVET AF: Det Danske Filminstitut MASTER CLASS MED FRANK COSARO COMPUTERSPIL FOR MILLIARDER BUSTER 2004 Den amerikanske troldmand Frank Corsaro – tidligere FILM taler med forfatteren til rapporten Digital Games En uge med film og arrangementer, der forhåbentlig 3 JYTTE REX: INTERVIEW leder af Actors Studio – kommer til Danmark i – a Danish Perspective, Charlotte Appelgren, som vil bringe nye erkendelser. Et af seminarerne under november og afholder en workshop for danske fortæller, at den danske branche er topscorer, når det BUSTER handler om etik i børne- og ungdomsfilm, og REDAKTØRER: Agnete Dorph Stjernfelt filminstruktører og skuespillere. gælder tildeling af funding til computerspil fra MEDIA i den anledning skriver Per Nielsen, filmkonsulent på programmet. Det Svenske Filminstitut, om fornyelse af filmsproget. SIDE 7 SIDE 12 SIDE 20 Susanna Neimann Jytte Rex udsender nu sin sjette spillefilm, Silkevejen.
    [Show full text]
  • Computerspil I Videns- Og Oplevelses- Økonomien Den Danske Spilbranches Økonomiske Og Kreative Vækstmuligheder
    COMPUTERSPIL I VIDENS- OG OPLEVELSES- ØKONOMIEN DEN DANSKE SPILBRANCHES ØKONOMISKE OG KREATIVE VÆKSTMULIGHEDER SEPTEMBER 2005 Forord Computerspil udgør i dag et væsentligt element i børn og unges medieforbrug på linje med bøger, tv og film. Computerspil er gledet ind i hverdagen som det avancerede og krævende konsol- eller pc-spil, det taktiske holdspil på Internettet, børnespillet på DR eller TV 2 og tidsfordrivet på mobiltelefonen. Computerspillene er alle vegne i bør- nene og de unges liv. De udgør derfor en vigtig kulturel påvirkningsfaktor, der på én gang er underholdning, læring og dannelse. Danmark har en lang og rig tradition inden for børnekultur – både når det gælder produktion af bøger, børne-tv og film, og når det drejer sig om undervisning og kul- turformidling. Denne tradition bør selvfølgelig fastholdes og udvikles i forhold til de nye interaktive medier. Ikke blot fordi computerspillene fylder i medielandskabet; men også fordi spillene for længst er kommet ud over det stadie, hvor de primitive og voldelige action-spil dominerede udbuddet. I dag dækker computerspillene i deres indhold en bred vifte af genrer så som sociale relationer, intriger, action, diplomati, strategi, forhandling, omsorg mv. I denne rapport belyser Mediesekretariatet og Det Danske Filminstitut den danske spilbranche ud fra både en kulturel og en erhvervsmæssig synsvinkel. Formålet er dels at vurdere mulighederne for at udvikle en bæredygtig spilbranche i Danmark dels at se på mulighederne for et mere alsidigt og kvalitetsbetonet udbud af spil i Danmark og Norden, som alternativ til det stærkt globaliserede spilmarked. Udgangspunktet er et stærkt og levende iværksættermiljø i den danske spilbranche, der med stor iderigdom og med stærke innovative kræfter har markeret sig i Dan- mark, Europa og på verdensmarkedet.
    [Show full text]