Reff & Strandgaard

The Role of the Media in the Co-Production of Identities in a Filmmaking Company

Anne Reff Pedersen and Jesper Strandgaard Pedersen Copenhagen Business School, Denmark

ABSTRACT

This article focuses on the role of organizational storytelling and identity formation of a Danish filmmaking company, Zentropa Entertainment Productions Company (a.k.a. Zentropa). Identity formation, as storytelling, is taking place in a context of multiple voices, polyphony, and is performed in dialogue. The article explores how identities are co-produced through the interaction between the organization and external actors by their story interaction. The study illustrates how the identity of a filmmaking company emerges from identity stories and how they are co-produced with the media. We argue that the rebellious ‘Maverick’ identity of Zentropa has emerged through its interaction with the media through “counter stories.” Finally, the study shows the difficulties that Zentropa encountered trying to maintain its rebellious ‘Maverick’ identity.

Keywords: identity work, media, co-production, narrative

INTRODUCTION Wyatt, 1994; Lampel, Shamsie and Lant, 2006), because film companies are highly What role does the media play in the dependent on positive publicity and media co-production of the identity of a filmmaking hype when new films are released. Media company? The purpose of this article is to portrayals, reviews and understandings of investigate and understand the narrative forms filmmaking organizations and their products and processes through which an enterprise are also invaluable in attracting investors, organizes and attempts to handle some of the audiences and international recognition. paradoxes involved in creating and maintaining an ongoing identity. The article argues that an Filmmaking companies are of interest important factor in the formation of the identity for several reasons. First, their products, the of organizations is related to the ongoing films, are important cultural creators of relationship and exchange between the meaning (Harbord, 2002). Second, the organization and its surroundings. The companies represent the type of cultural- research draws from Zentropa Entertainment creative organizations that are becoming more Productions Company (a.k.a. Zentropa), a widespread (Pine and Gilmore, 1999; Caves, Danish filmmaking company known as a 2000) and ones from which other businesses rebellious ‘Maverick’ (Becker, 1982). The may learn (Lampel, Lant and Shamsie, 2000; company is known as a critical and artistic Caves, 2000). Third, filmmaking companies voice in contrast to mainstream, profit oriented, are, through their products, in the business of ‘High Concept’ filmmaking firms (Wyatt, 1994). storytelling. Fourth, in an increasingly globalized and standardized film industry The aim of the article is to illustrate how (Harbord, 2002) small rebellious filmmaking the rebellious ‘Maverick’ identity of Zentropa is companies, like Zentropa, constitute an emerging through its specific interplay with the interesting contrast to the mainstream, high media. Like for other businesses, the media concept film industry (Stevenson, 2003; Hjort constitutes an important external relationship and MacKenzie, 2003; Alvarez et al. 2005). for filmmaking companies (Becker, 1982;

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In the paper, we will elaborate upon the has been the multiplicity of identities (Pratt and identity production of Zentropa. We will Foreman, 2000), focusing on how managers analyze the specific ways in which identities handle multiple organizational identities. Pratt are created, both externally and internally. But and Foreman (2000) focus on the negotiations first, we review the literature on narrative outside of organizations to illustrate how identity studies, with an emphasis on the multiple identities emerge, especially through performative part of narrative studies. story telling.

NARRATIVE AND CO-PRODUCTION A narrative approach to identity studies IDENTITY STUDIES aims to understand how specific actors discursively position themselves through The theoretical framework for this study specific conditions of possibility and is rooted in theories of identity construction constraints. Instead of assuming that (Albert and Whetten, 1985; Gioia, 1998; Pratt organizational identity is exclusively about that and Foreman, 2000; Albert, Ashforth and which is central, enduring, and distinctive, a Dutton, 2000; Gioia, Schultz and Corley, 2000) narrative approach emphasizes the work and in theories on narrative organizational involved in the creation of identity (Boje 1995, studies (Czarniawska, 1997; 1998; 1999; 2001; Czarniawska, 1999; Gabriel, 1995; Gabriel, 1995; 2000; Boje, 1991; 1995; 2001). 2000). When Albert and Whetten (1985) asked the questions: who are we, and what kind of firm is In other words, there is much work this, they were seeking to characterize involved in performing or creating an identity. organizational identity as a self reflective “Organizational storytelling allows people to try question, with three main features. First, out and develop identities for themselves that organizational identity is seen by are not available through official organizational organizational members as central to the practices” (Gabriel 2000:129). Storytelling organization. Second, they questioned what results in fragmented, tentative, and makes an organization distinctive from others experimental identities that are coupled organizations. Last, their questions raised the together in numerous fields. Gabriel (2000) issue of what is perceived by organizational describes how organizational identities in the members to be an enduring and continuing workplace are linked to subjectivity, which is feature linking the organization with the past outside control. Gabriel (2000) argues that it and the future (Albert and Whetten, 1985; does not suffice to look only at the managed Gioia, 1998). Early studies of organizational organization with its mass-produced fantasies, identity focused on the internal life of powers, strategies, tactics and so forth as the organizations, organizational culture and how exclusive source from which people draw organizations created certain values and meanings and identities. “The unmanaged norms that in turn formed the organizational spaces of the organization do not generally identity (cf. Martin, 2002 for an overview of this challenge organizational control, but allow stream of research) individuals and groups through their stories to affirm themselves as agents, heroes, survivors Recent studies of identity suggest that and object of love rather than identifying with identity is not a given position. In post- the script that organizations put in their industrial times, more identity options and mouths”, (Gabriel 2000:129). more tolerance of identity diversity exists, resulting in processes where identities change Gabriel (2000) defines stories by their over time (Albert, Ashforth and Dutton, 2000). narrative genres, characters, events and plots These conditions lead to identities being to understand the way in which different negotiated both inside and outside of members of organizations create identities organizations. Different research streams based on every day life in the organizations examine this kind of identity formation. One (Gabriel, 2000). Gabriel’s definition of stories is

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inspired by Northrop Frye’s research on myths relationship with the media to control the and narrative genres (Frye, 1957). Other media identity stories. We argue, however, researchers in the field of organization and that legitimacy and identities are not a identity have analyzed narrative identity by the managed process, but a result of both genre of comedy, tragedy and romance managed and unmanaged identities, a co- (Downing, 1997; Gabriel, 2000; Grant, production of story work that can sometime Michelson, Oswick, and Weiles, 2005). entail a wish or intentions of success stories, Ultimately, Gabriel (2000) argues that identity but with no ability to do more than that. The work is linked to unmanaged spaces in way the storytelling co-production works out organizations. depends upon the context of the multiple voices and the storyteller’s storytelling We argue that the relation between capabilities. The storytelling condition of media and film companies can be defined as identity formation is one of polyphony. unmanaged spaces due to the relational character that is difficult to manage and In Boje’s analysis of the Disney control. In accordance with Gabriel’s points, Corporation, he identifies voices and stories identities relate to workspaces and also to that are excluded from the corporation’s official external actors and their unmanaged interests. stories about golden times and profit (Boje, Organizing identities is a coproduction of the 1995). Boje observes differences between the managed organizational relationship, mass- stories of the CEO and the stories of the produced fantasies, power and the employees, and demonstrates that unmanaged organizational relationship within management is not a univocal but rather a which an individual constructs meaning polyphonic phenomenon, communicating both through stories. The voice of journalists can formal and informal stories (Boje, 1995). The thus be related to both managed power stories term polyphony comes from Greek and means and more individual unmanaged stories. “many” and “voices” – many-voices. Many Rather than contradictions, such fragmented scholars have been inspired by the work of story telling conditions can take form as genre Bakhtin (1973) to investigate the polyphony in stories or as epic stories. organizations (Boje, 1991; Hazen, 1993). Bakhtin extended the concept in literature in To understand identity by the stories his analysis of Dostojevsky’s polyphonic told, especially outside organizations, involves novels (Bakhtin, 1973). In Bakhtin’s a focus on the legitimating process of the terminology, the relationship between identity stories. Czarniawska (1997) describes dialogue, utterance and author are creating how an organizational identity has to be told as polyphony, stressing that dialogues take place a success. “While individual people can spin in mutual reciprocal relations to one another.. tales of ill adjustments, neuroses or plain Boje (1991; 1995; 2001) has further developed misery, continuous success is a constant the polyphony idea in narrative organisational ingredient in the autobiographies of studies by arguing, that the organizational organizations” (Czarniawska: 1997: 52). context impacts stories - in other words, Thereby Czarniawska (1997) stresses the organizational stories are not isolated relation between unmanaged and managed phenomena, but form part of other stories, identities and claims that identities often are a struggling and intermingling with them. managed identity related to certain kinds of legitimacy processes. Organizational stories are often oral and highly colored by the organizational In relation to film companies, legitimacy context. Stories are typically told in a context of processes play a role in establishing managed ‘public’ encounters, during meetings and identities and links to trustworthy and creative situations where others can interrupt or organizations (Alvarez et al. 2005). Film continue the stories. In other contexts, an companies try to establish managed employee tells a colleague a story under the

93 Vol 7 Issue 7.1 2008 ISSN 1532-5555 seal of secrecy, behind closed doors. Boje lot of accessible material in the form of (2001) points out how stories reflect the newspaper articles, books, video and DVD organizations in which they exist. Emerging material (see Appendix 1). Third, Zentropa and dynamic organizational forms, for appears to be highly focused on instance, create incomplete stories: “People communicating with the surrounding world, not are only tracing story fragments, inventing bits the least with the media, performing a very and pieces to glue it all together, but are never distinct identity: the managers seem highly able to visit all the stages and see the whole,” preoccupied with the way they narrate the (Boje, 2001: 5). In his analysis of a large office organization’s identity. Finally, Zentropa and its supply firm he points out that stories, as self-narrated drive towards deviation and being performance, have several preconditions: the a rebellious ‘Maverick’, is seen to be an negotiating of storylines and the completeness extreme case in modern society’s predominant of storytelling, ownership of stories, person to discourse on change, innovation, and of rising person interaction and stories performed in above the anonymous crowd. relations to discourses (Boje 1991). THE STUDY Boje’s polyphony perspective relates to identity formation in the performative aspect of The overall approach to the case study identity - the notion of identity as being told of Zentropa relied on multiple data sources and retold as stories. The following analysis (Stake, 2000; Flyvbjerg, 2004). The research investigates the way in which identity is on Zentropa has been carried out over eight constructed by the ongoing interaction with the years (2000-2007) and in several sub-studies media. Identities are not narrated in an and rounds of data generation. The data unbounded sense, from an intentionally driven sources consist of nineteen in depth interviews managerial privileged position. Instead, the with informants – fourteen interviews with narrative identity is performed in a dialogue, informants from Zentropa and five interviews perhaps even a battle, and definitely a with informants from the film industry (film negotiation, between management, critics, journalists, representatives from The organization members, and external actors on Danish Film Institute and from The National how identity is to be understood as a Film School), together with observational data performed process in dialogue, newer obtained from numerous field visits and completed. We argue that especially the occasions for interactions with Zentropa managed legitimacy identity stories from the members. These data sources were management (with the intention to follow paths supplemented by newspaper articles together of success) can take forms as epic stories. But with other documentary material, including: these epic stories are only a part of the story books on Zentropa (e.g. ‘Filmbyen’ by Vilhelm, telling identity formation and will be met with all 2007); biographies on Zentropa’s CEO and kinds of fragmented counter-stories. producer, Aalbæk Jensen, and, Zentropa’s director, Lars Von Trier; specialized books DATA AND METHODS (e.g. Jakobsen, 2003 on the making of ‘Dogville’ ) and videos (e.g., ‘The Humiliated’ by Zentropa was selected as the research Jargil, 1998 on the making of ‘The Idiots’; ‘The case for a number of reasons. First, Zentropa Purified’ by Jargil, 2002 on the Dogma and its products (the films) have gained much Manifesto); interviews and ‘behind-the-scene’ attention through reviews, comments, and extra-material from DVD-films, containing awards, thus producing numerous occasions interviews with Von Trier and other Zentropa for communicative dialogues. Second, the filmmakers (directors, producers and actors); company has engaged in active films on ‘the making of ..’ (for example, ‘Von communication with the media and has Trier’s 100 Eyes’ and ‘Dogville Confessions’). provided answers and justifications to a lot of See Appendix 1 for an overview of the data for questions from various journalists, producing a the case study.

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Data Analysis younger producer primarily producing films for As mentioned above, the study relied an international audience. These two on multiple sources of evidence and methods producers are responsible for media contacts for data generation. Data sources include in relation to the launch of their films. Apart interviews, company documents, field visits, from these interviews, we conducted an press clippings, books, TV interviews and interview with a respondent from Zentropa other digital material on Zentropa, Dogma 95, Interaction, a company with fifty per cent and the directors and producers at Zentropa. Zentropa ownership, located in ‘Filmbyen’ and Data generation was based on established responsible for customer contacts. It presents guidelines along issues of interest related to Zentropa to the public through guided tours at the research question on the identity co- Zentropa and operates as a consultancy production relation. Case write-ups and company providing contracted services for frameworks were analysed by the researchers private and public sector companies. With and then discussed among them at several these interviews, we aimed to explore the way “interpretative meetings”. Each time a new people in Zentropa made sense of their round of iterations was initiated between interaction with the media and how they theory (to enlighten and to substantiate presented Zentropa to the outside world. conceptually an empirically observed pattern) and data sources (to provide missing Selecting informants outside Zentropa information for further induction). Secondary Interviews with informants from the information, including books and articles from media were also carried out. These interviews the business and film press on Zentropa were with film critics and journalists specialized filmmakers as well as other professionals in in the film industry and/or cultural industries. the film industry (film critics, journalists, film The journalists had all written a number of school representatives, people at the Danish articles specifically on Zentropa and have Film Institute), helped refine our thinking. extensive and prolonged experience in interacting with Zentropa. Thus, based on Selecting informants inside Zentropa studies of articles written on Zentropa and Two rounds of interviews were recommendations from Zentropa informants, conducted with informants from Zentropa. The three journalists from three different Danish first round included ten informants from daily newspapers were selected for interviews. Zentropa selected across hierarchy, All interviews were taped and transcribed. The organizational units and, functional three journalists represented three different specialization to provide background ways of perceiving and interacting with information on Zentropa. A second round of Zentropa. One journalist was very sceptical interviews was with four informants from towards Zentropa and had a critical approach Zentropa; the primary criterion for selection of toward the company. This journalist tended to informants for these interviews, was that the view Zentropa and write his articles from a informants should be involved in or be business and management perspective. A responsible for media-contact. These four second journalist was critical but supportive of interviews with media contact informants from Zentropa and tended to write his articles from Zentropa were taped and transcribed. Hence, a film industry and film production perspective. one interview was been conducted with the Finally, a journalist who was very supportive of managing director, founder and co-owner of Zentropa saw himself more as a film critic and Zentropa, who has been highly exposed in the hence tended to write his articles taking a point media and has been the person speaking on of departure from the film products and their behalf of Zentropa in the media. A second artistic qualities. To supplement these interview was with a well-established and interviews, two interviews were also conducted experienced male producer, primarily with informants from the Danish Film Institute producing films for a Danish audience. A third and The Danish Film School to get an industry interview was held with a female, up-coming,

95 Vol 7 Issue 7.1 2008 ISSN 1532-5555 perspective on Zentropa and situate them companies with around 200 people working on within the Danish film industry. a day-to-day basis (Stevenson, 2002).

THE CASE Zentropa became known through von Trier’s various projects, including some of his Film director Lars von Trier and most important (and commercially successful) producer Peter Aalbaek Jensen founded films, such as, the Gold Hearted Trilogy: Zentropa Entertainment Productions Company ”Breaking the Waves” (1996), “The Idiots” 17 in 1992 . They created the company to give (1998), and ”Dancer in the Dark” (2000) and Lars von Trier artistic freedom to make the the new Trilogy beginning with “Dogville” films he envisioned. They divided the creative- (2003) and Manderlay (2005). In addition, the artistic roles (von Trier) and the commercial- company produced television series such as managerial roles (Aalbaek Jensen) between “The Kingdom I and II” (1994 and 1997), “The them (Alvarez et al., 2005). The two met at the Teacher’s Room” (1994), “Quiet Waters” National Film School of Denmark in the mid (1998-99), and “Project D-day” (2000). A part 1980s, when von Trier had just graduated as a from these productions and projects, von Trier director and Jensen was near graduation as a was also the prime initiator, together with film producer (Jyllands-Posten, 16.04.2000). The director Thomas Vinterberg, in forming the new company, a 50-50 partnership, produced ‘Dogma Manifesto’ that outlined 10 rules for feature films and earned money from making production of films in a ‘vow of chastity’ (Hjort commercials. The owners split evenly of all and MacKenzie, 2003; Stevenson, 2003). The profits and had an equal stake in all decisions Dogma Manifesto has inspired a lot of (Stevenson, 2002). Von Trier and Aalbaek filmmakers in Denmark and abroad, which has Jensen invested almost all their profits in film lead to over 50 Dogma certified films equipment, and by 1994 they owned 10 million (Dogma95 website, 2005). Later, other DKK (around 1.5 million EURO or 2 million producers, film directors, and their films have USD) in equipment, primarily earned from von become known and recognized through 18 Trier’s commercials, many made for German awards and box office sales. companies (Stevenson, 2002). By owning their equipment, they were able to reduce costs on Zentropa is a full-service organization their own productions and generate income by when it comes to producing feature films. This renting the equipment out. Furthermore the means that all functions, from concept equipment could function as collateral in co- development to pre-production, production and production arrangements. post-production, and distribution are done with within the company. In 2002, Zentropa was the Zentropa soon found a home in a owner or co-owner of between 40-50 different former tobacco factory in Ryesgade in the City companies in Denmark and abroad of Copenhagen. Soon after that, several other (Stevenson, 2003). Around 50% of these film companies joined them, including Peter companies list Zentropa as the exclusive Bech Films and Nimbus Films. In the late owner; they cover a wide product line: 1990s they grew out of the facility in Ryesgade children’s movies, documentaries, TV- and in 1999 they moved to a former military productions, Internet and multi-media facility in suburban area south of Copenhagen productions, low budget experimental films, called Avedoere, and established what now is expensive, high profiled international known as the ‘Film Town’ (Vilhelm, 2007). The productions (Darmer, Strandgaard Pedersen ‘Film Town’ in Avedoere had, by 2002, grown and Brorsen, 2003). Between 1994 and 2001 into a site hosting about 20 different

18 For example, ‘Italian for Beginners’ directed by Scherfig; the Trilogy - ‘The Bench’, ‘Inheritance’ and ‘Manslaughter’ - directed 17 by Fly and produced by Tardini, together with ‘Brothers’ and See also appendix 2 for an overview of Zentropa’s historical ‘After the Wedding’ directed by Bier and produced by Gram development . Jørgensen, all Zentropa productions, see also appendix 2.

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Zentropa produced over 50 feature films and cigar in his hand. Zentropa, represented by increased their library by buying the rights for von Trier and Aalbaek Jensen, sees itself, and ‘Europa’ from Nordisk Film with an aim to sell is seen by other people in the Danish film von Trier’s films as a package (Stevenson, industry, as a ‘rebel’. Zentropa provokes and 2002). Zentropa has since grown to be the rebels against existing film conventions and largest production company in Scandinavia, the film establishment – and is successful in when measured by output. It now has a doing so. So successful – commercially as well workforce of more than 130 employees and as artistically - that it has turned the Danish around 700 freelancers, producing a turnover, film industry upside-down, has revitalized in 2006, of about 250 million DKK (around 33 Danish film and even become famous million EURO or 50 million USD). internationally .

RESULTS This story can be defined as a an epic story (Gabriel, 2000:73) where the CEO of This section has two parts. In the first Zentropa relates the character of Zentropa to part, we explore the managed identity story one highly celebrated and widely known from inside the organisation and from the protagonist amongst the long list of management of Zentropa.In the second part; protagonists in Danish fairy tales, namely that we examine the unmanaged identity stories of Clumsy-Hans. The fairytale is about from journalists as external voices will be Clumsy-Hans, the third son, who sets out to analyzed. win the princess’s heart, along with his two older brothers, who, compared to Clumsy- The emergence of a rebel identity story Hans, are more educated, more sophisticated, The managed identity story of and more appreciated by both their father and Zentropa, told from the management of people in general. The princess has Zentropa, came to us in interviews, on the announced publicly that she will take as guided tours in ‘Filmbyen’ and, through retold husband the man who has the most to say for stories to other researchers and journalists in him. Contrary to the expectations of books of Zentropa (e.g. Stevenson, 2002; everybody, Clumsy-Hans shows great 2003; Hjort and MacKenzie, 2003; Jacobsen, confidence in his own abilities and wins the 2003; Vilhelm, 2007). The story is our heart of the King’s daughter because he does summary: not become paralysed by the situation like his distinguished and learned brothers. While They story begins in 1992 when Clumsy-Hans may not speak in a very Zentropa was founded in a backyard in the distinguished manner, he simply speaks his centre of Copenhagen. Zentropa was a mind, and he does not become scared by the partnership between Lars von Trier (‘The Little fact that every word he utters in the presence Man’ or ‘Mite’) and Peter Aalbaek Jensen (‘The of the princess will be published in tomorrow’s Eel’) who were two old friends from the Danish newspaper. Instead of rehearsing phrases that film school. Both had recently flopped may come in handy when conversing with the commercially with their previous productions princess, as does his brothers, Clumsy-Hans (“Europa” and “Perfect World”). They formed improvises and ingeniously uses the Zentropa to provide von Trier with maximal unconventional paraphernalia he has brought freedom to produce the films he wanted to with him (a dead crow, an old wooden shoe, produce – and which nobody else would dare and mud). In short, Clumsy-Hans is highly to produce. These two partners are very unconventional in his approach, a ‘rebel by different characters - von Trier is the shy, film nature’, and nonetheless, manages to succeed genius, the creative force who provides the by beating the conventional establishment. No artistic input in the relationship, whereas less important, he places himself on top of Aalbaek Jensen is the extrovert, outspoken, society by marrying the king’s daughter. ‘film Merchant’, always with a huge cohiba (Source: Danish Fairytale by H.C. Andersen

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[authors’ summary]). Drawing a parallel interview with journalist). They start out on the between the story of Zentropa and that of very margins of the Danish film industry, Clumsy-Hans was done explicitly by the fighting against the established companies and Zentropa CEO himself in an interview: institutions in the Danish film industry using unconventional means and producing ’And everybody somehow appreciates that one unconventional films, and winding up a is a bit cheeky, and they don’t care if we say successful film production company accredited we are communists when we speak to for revitalizing Danish Film. someone from Venstre and Dansk Folkeparti [the two rightwing parties in Denmark, authors’ If Zentropa, as the protagonist, is the comment], and I can also give Louise Frevert hero, other characters are ‘the helpers’ and [politician from Dansk Folkeparti and ‘the villains’ in the classical quest story. One spokeswoman in matters of cultural politics, character in the Zentropa story which plays the authors’ comment] a punch on the nose and villain role is Nordisk Film, the grand old, wipe in the ass. So, we get accepted, because traditionally powerful Danish film company, we are that Clumsy-Hans character that is so and the oldest of its kind in the world, founded easy for the Danes to handle’. (Interview with 1906. As one journalist states: CEO of Zentropa) . ‘…that is, Nordisk Film has essentially had an The CEO of Zentropa continues image with feet of clay, that have had immense explaining his view on the Clumsy-Hans difficulty keeping up with Zentropa, that is, they fairytale story and the dynamics of it in relation have pulled themselves together lately and to Zentropa, found out that “well, it is no use that we just sit around here and play the Nordisk Film that we ‘…and that is such a Clumsy-Hans myth have been for close to 100 years”…they surrounding us, also abroad, because there we started back in 1906. So, in two years they can are obviously very small as compared to the celebrate their 100 years anniversary, and other companies… well, it’s like up on the within the last 10 years they have been goat and mud in the pocket, you see, and then overtaken from the inside, the outside, from throw it in the direction of the aldermen and behind and everything, by Zentropa and a lot stuff like that, you see…And it is….well, we are of the others’. (Interview with journalist). a 100% US-hostile even though virtually all our films are sold to the US…there is also, well we In the quote, the play of polar opposites always appear in the media, if we do is visible. While Zentropa is attributed the something for an American magazine, then its hero’s power of action, Nordisk Film is always with the red star or the hammer and the deprived of this very same quality. Nordisk sickle behind or something like that…well it Film then becomes the docile body that is…and our films are also like that, but what mechanically repeats its own pattern of the hell, but at the same time we have a behaviour in a manner that will make the ironic pipeline of dollars lying there, you see, into our observer smile, as seems to be the case when account, well they simply think it is hilarious’. the journalist evokes the image of a colossus. (Interview with CEO of Zentropa) Nordisk Film is portrayed as not moving, and we recognize the story of Zentropa as The identity story of Zentropa movement most vividly through this presented above shares the same narrative comparison, through the identification of the structure as Clumsy-Hans. Von Trier (the leviathan on the opposite pole, that is (see also director) is a character that often is recognized Frye, 1957). In fact, as an identified other, as a weird and shy genius, and the merchant, Nordisk Film has a very distinct status in the Aalbaek Jensen (the CEO), is depicted as the mythology of Zentropa, as people from extremely communicative person who “has a Zentropa eagerly tell the press and general meaning about everything” (phrase from public on guided tours of their premises. To

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emphasize the point, right beside the main achievement, most would probably agree, and building of the old military barracks that it is also in this story work that we come Zentropa uses as its headquarters is an old closest to what we might call a wish-fulfilment military tank. The tank’s cannon symbolically dream (Frye, 1957). points in the direction of Nordisk Film. While an important sign in itself, this visual statement The challenge of the rebel identity story – seems part of the story-material that made it critical journalist voices possible for Zentropa to refer to itself as a Boje’s notion of multiple voices implies ‘rebel’. Listening to the stories of people from a focus on the performative storyteller Zentropa and from the journalists, it is (Boje,1995; 2001) and, another aspect in the remarkable how they follow the dialectical Zentropa-media relation is concerned with the structure of the hero’s quest. Thus, in a classic role of the author and the rise of critical battle, one is able to look an easily journalist voices. Some of the journalist writing recognizable opponent in the eyes, and the about Zentropa have begun to perform critical battle is the very collision between the journalism, just as ‘business journalism’ had absolutely good and the absolutely evil. It is done some years before them (Mazza and also in this clash of opposites and the way in Strandgaard Pedersen, 2004; Kjaer and Slatta, which it seems a rather reflective part of 2007). Thus, instead of ‘holding the Zentropa’s stories that the story of Clumsy- microphone’ and letting sources say whatever Hans risks subverting itself. Clumsy-Hans was they please, the heroic quest of the journalistic a spontaneous character, who acted intuitively. enterprise entails a fundamentally critical Zentropa, on the contrary, is remarkably good attitude vis-à-vis ‘cultural companies’ that at telling their story, and the very appellation of suddenly has to answer for itself. Clumsy-Hans as a prominent figure in their In the following section, the critical journalist self-story seems a contradiction in terms. voices are divided into two forms of counter- stories: one about authorship and finding the Finally, the agency is characteristic for ‘true story’ behind the romantic, mythological an epic story (Frye, 1957; Gabriel, 2000). An quest story and one about Zentropa being a effective rhetorical means that makes us greedy capitalist – ‘the money story’. recognize agency is the very act of juxtaposing, or pointing to passivity, preferably Pursuing authorship and ‘the true story’ to an identified other. Elaborating upon the Clumsy-Hans is a fairy tale, and thus poetic trope of agency, it seems appropriate to assumes a suspension of disbelief. However, say that doing and saying the same as while the Zentropa story may exhibit a everybody else is virtually a non-action, narrative structure that shares important perhaps even a docile body towards which it elements with the story of Clumsy-Hans, the makes perfectly good sense to be indifferent suspension of disbelief of Zentropa’s audience to. Action, in this line of argumentation, is is at best partial and always at risk of falling about being noticed, which is also an integral prey to a journalistic practice that, at least in its part of Zentropa’s emphasis upon their very own understanding, purport to represent facts “exhibitionistic nature” (phrase from interview (Gabriel, 2000) in the quest for telling the ‘ true’ with CEO of Zentropa), it is about being story . One journalist raises a question of recognized as different, and it is also this kind whether it is important if Lars von Trier is of polarization that is characteristic for the way faking his mystical, oftentimes shy and people from Zentropa and people from the unreachable, neurotic character or not: written press make sense of Zentropa. This story told by Zentropa about their identity ‘Well it is! From a journalistic point of view it is formation is a ‘rebel’ story. Zentropa is the important to disclose… we always want the full hero Clumsy-Hans and, in contrast to Nordisk and true story’. (Interview with journalist). Film, uses unconventional means to build up a Moreover, while the conventional successful film production. No little reading of fairy tales straightforwardly contents

99 Vol 7 Issue 7.1 2008 ISSN 1532-5555 itself with the passive aftermath epitomized in substance at all. In short, journalists seem the ‘they lived happily ever after’, the story of quite conscious of the fact that it demands an Zentropa goes on . No quiet aftermath here, active effort on their part to avoid being and it would only seem that journalists are, if misused for the kind of story Zentropa would not longing to become able to tell an entirely like them to tell. different story, then definitely on the lookout for smaller counter-fragments that will disturb What seems to be at stake in this battle Zentropa’s attempts to cast itself as a univocal against ‘fan-journalism’, as one journalist heroic character. As one of the journalists critically remarked in an interview, is the entire cautiously mentions in an interview: question of authorship . Thus, an integral part of the journalists’ sense of identity is to be able ‘…One has to be careful not to tell the typical to tell their own story of Zentropa that is not story of Zentropa. Because the typical, the one dictated by the frequent rhetoric emanating that I can sit down and write virtually without from the Zentropa CEO. Within discourses of talking to anybody, that is, once again journalism as a heroic quest for truth, a vital Zentropa has succeeded through concern is to keep a critical distance to the unconventional means to do… and stuff like material you as a journalist investigate and that, you see…? And this is a good story write about. It is also in this line of reasoning without edges and everything, and this …. we that we should understand a critical remark do know that they have done various stuff and from one of the journalists regarding the so on. This is why I believe it is important that behaviour of fellow journalists from other …, it is important in life in general but newspapers.He considered it severely especially when it comes to Zentropa, all the problematic that some journalists jumped time to be saying: Hey, what is going on here? naked into a swimming pool with Zentropa’s (Interview with journalist). CEO, to get tickets to a private party that Zentropa was hosting in Cannes during the However, while the quotes already film festival. As one journalists stated in the imply a journalistic attitude of suspicion, it is interview, “it doesn’t get any more intimate”, also essential to mention that none of the referring to the biggest sin of them all, namely journalists seem to criticize Zentropa’s to come much too close to the ones that you genesis . Zentropa’s birth seems to be should be able to write about in a manner praiseworthy indeed, and it is in this sense that faithful to the journalistic code. By jumping into we may speak of a mutual enactment of a the swimming pool, these journalists had heroic past. When asked to tell the overall, become enemies of the very progress that this typical story of Zentropa, the journalists refer to same journalist believed had characterized Zentropa as an entrepreneurial company that parts of cultural journalism in Denmark in dares to make things happen, skilled at what recent years. More is at stake than what the they do, that acts with an unprecedented story is about. It does not always pertain to the effrontery, is unorthodox, and has done a lot content of the story, but may simply refer to the for the Danish film industry in general. As the question of authorship more generally cases of other epic pasts, Zentropa’s past speaking. As another journalist states: remains largely untouchable in the sense of being almost beyond critique. It is a past that But they [Zentropa authors’ comment] are also appears to call for our recognition and respect, good at …. they are just as good at using the a past we have to approach with a large media. That is, Peter Aalbaek is a genius at portion of reverence. it…you sit there each time you have a story

about him and weighs it a 100 times. Not Moreover, all the journalists with whom because you doubt whether it is true or not, but we spoke are well aware that the CEO of more like “who’s using who here?” Zentropa is rather renowned for stirring up matters that may prove to have little or no

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After this example of an unmanaged This critique concerning creative book attempt at counter-storying (Gabriel, 1995; keeping is also fuelled by the very success and Boje, 2001) in the previous analysis of growth of Zentropa and is recognized by both authorship and the quest for critical journalism, journalists and employees from Zentropa. The we will in the following focus on some of the sense in which Zentropa’s success and growth other ways the journalists engage themselves has become a challenge is neatly captured by in a critical and challenging dialogue with the an employee who has worked for Zentropa for evolving Zentropa-story, producing counter- some years, who states that, stories. ”…we [Zentropa, authors’ comments]) have ‘The money story’ – is it just all about been victorious to the point of killing money and unethical business methods? ourselves.” (interview with Zentropa informant ). Another unmanaged attempt at counter-storying (Gabriel, 1995; Boje, 2001) Zentropa’s success and growth has that differs from the managed story of taken place through processes of Zentropa, has focussed on ‘the money’ and diversification resulting in a very complex Zentropa’s business methods. It is expressed company structure, handy for expansion but 19 by the journalists in their attempt to make with little transparency for outsiders . The sense of Zentropa. The following quote is growth also means that it is increasingly representative: difficult to point their finger at the radical other, namely Nordisk Film, which has actually ‘Well, the point of views are…, the point of become more of a partner than an enemy in views often have something to do with money, their story of self-identity. It is in this line of when it comes to film, because you need argument that another critical voice from money to make films’ (interview with journalists has been raised. This example of journalist). an attempt to construct a counter-story, both referred to by Zentropa CEO and written about Money is an important issue in almost in a newspaper article, is the article headlined any sphere of activity, and this is no less true ‘The Useful Idiots’ (Berlingske Tidende, for the Danish film industry, where the state is 10.11.2002), a title that plays upon the title of involved in the funding of the majority film von Trier’s film ‘The Idiots’. productions (Mathieu, 2006; Darmer et al. 2007) . When it comes to the financial aspects “Within the last ten years the of Zentropa and its business activities, filmmaking company Zentropa has developed ‘something smells fishy’ (quoting one of the from being a rebellious, philanthropic journalists). This attitude was personified in enterprise, who stood up against the what one journalist has called the ‘swelling established film industry, to become the merchant’. In line with this suspicious journalist absolute number one in the industry. But voice and explicitly expressed in articles about following from the success Zentropa has Zentropa, a journalist states: turned into the very monopoly, they themselves previously fought against, and ‘…It has been implied in a number of articles today a rebellion is rising among well- known that Zentropa has - this you can tell to Peter actors. They feel like abused extras in the Aalbaek Jensen - some form of very ’creative’ service of Zentropa.” (Berlingske Tidende, book keeping with all their companies. There is 10.11.2002) no doubt about that. The question is whether it is against the rules or not, or if they are simply ingenious and good? That story, I believe, has 19 The criticism of accounts with little transparency and use of not been fully written as yet’ . (Interview with complex company structures is, however, also raised against the journalist) film industry in general. See for example ’Global Hollywood’ by Miller et al. (2001) and ’The Creative Economy’ by Howkins (2001).

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The general storyline in the newspaper trying to articulate another story than the one article resonates that of the employee, usually told about Zentropa. These presented previously, only with a much more unmanaged attempts at counter-storying (Boje, hostile slant to it. The article presents Zentropa 2001) differed from the managed story of as a company that has gone from being a Zentropa on some dimensions. The rebellious, artistic-creative, philanthropic unmanaged story running through these enterprise to become the kind of monopoly that articles are the poor ability of Danish film to Zentropa itself used to fight against. A sell its products to the public. The articles also monopoly that uses its newly won status to put indicate that Danish film is miserable from a a large pressure on the actors’ salaries in the business point of view and, Zentropa is seen to name of the ‘Dogma concept’, and even to lie embody this misery as the worst seller of them about the prospect of future royalties. The all. Meanwhile, it is also described as the article even quotes a phrase von Trier is company receiving the highest proportion of supposed to have uttered during the shooting financial support from the Danish Film Institute of the film: compared to the number of tickets sold, so something ‘smells fishy’, as the articles seem 21 “There is a goal bigger than ourselves. That is to imply . The critique implies an unfortunate, the income of Zentropa!” (Berlingske Tidende, perhaps even sinister, alliance between 10.11.2002). Zentropa and the film consultants from the Danish Film Institute, who administer the While articulated as a joke during the State’s film funding activities. 22 The story told shooting of the film, it certainly gains a whole is that the relationship between Zentropa and different meaning when placed in a story about the film consultants is perhaps too close and of a company that pays poor salaries to the a somewhat unethical nature, considering that actors it hires, actors who insist upon some of the film consultants have been remaining anonymous in any critique they give subsequently recruited by Zentropa to their out of fear missing future employment fixed residential period in office administrating possibilities. It is, in a certain sense, the anti- film funding agreements. This attack on capitalistic jargon of Zentropa that was Zentropa goes beyond the mere fact that some definitely easier to uphold in their past of the films produced by Zentropa are not able character as a small rebel, which comes to to attract a large audience. The articles imply haunt them as a ghost from the past. In this at a more subtle level, that the protagonist and counter-storyline, Zentropa is staged as the the enemy have exchanged positions in greedy capitalist – only thinking about ‘the Zentropa story. This reading resonates with money’. the critical journalists’ voices, which are very clear about the powerful position Zentropa has Another example of the critical voice acquired in the Danish film industry. directed towards Zentropa’s business methods is expressed in a series of articles from with DISCUSSION AND CONCLUSION titles like: ‘Film money, red numbers in Danish Film’ (Jyllands-Posten, 12.06.2001); ‘Film The article started out asking the Consultants: Clause for film consultants general question: What role do the media play (Jyllands-Posten, 26.04.2001); ‘Dead in the co-production of the identity of a consultants’ society’ (Jyllands-Posten, filmmaking company? The focus of the study 27.08.2000); ‘Film subsidies: Chairman wants has been on the way in which Zentropa to get rid of film flops’ (Jyllands-Posten, 25.02.2000); ‘Film subsidies: Zentropa is the 21 worst seller of films’ (Jyllands-Posten, Recent examples are: ’In the Cinema paid by the Government’ 20 (Politiken, 05.03.2006, and the movie ’Sprængfarlig 24.02.2000) , which were articles clearly Bombe’[‘Dangerous Bomb’] a parody on the Danish film industry 2006. 22 For analyses of the role of the Danish Film Institute and the filmconsultants see Mathieu (2006) and Darmer et al. 2007.

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performs an identity in interaction with one of understanding of themselves as a small and its significant others: the media. rebellious player. Vis-à-vis Hollywood, Zentropa is more likely to be thought of as The analyses have shown that thoroughly unconventional player. In Zentropa very consciously draws upon a Scandinavia, the company has already specific symbolic, mythological universe in the become, if not conventional, then everything stories it performs. This symbolic universe but the marginal player and ‘Maverick’, which draws on the Clumsy-Hans fairytale and could has been an important engine in their story be summarized as the small (anti- work. Thus, it is also striking how the establishment) battling against the big interviewed journalists have noticed that (establishment), the unconventional against convention itself, the artistic-creative against Zentropa (and in particular the CEO) the commercial (cf. table 1 below). have become less communicative in the local Danish media lately. Thus, the most recent The Analytical Analytical findings : response from Zentropa to the critique from construction narrative the media consists of an attempt to maintain of the features : their ‘Maverick’ and ‘rebel’ identity by narrative positioning themselves for a new international results : audience. While Danish journalists do not The rebel Protagonist Protagonist : seem to attack the heroic genesis of Zentropa, story : Other Zentropa as the it remains to be seen whether the critical constructed characters (anti) hero Clumsy- attention by the journalists will have any by the use of Plot Hans significant impact on the further development genetic Poetic trope Other characters : of the Zentropa-stories and the self-perception narrative Nordisk film of members in Zentropa, as these try to enact poetic modes Plot : mission/quest themselves vis-à-vis an international audience. imposed by Poetic trope : agency As these remarks suggest, it seems that the the interviewees. CEO of Zentropa has tried to re-enact the The Counter- Counter-stories : heroic story of Zentropa while changing parts challenges of storying myths versus true of its rhetorical strategy. An effective rhetorical the rebel Time stories, socialist strategy requires a supportive audience, and story: the perceptions versus greedy this is what Zentropa gets when it, for instance, critical Authorship capitalist stories relates itself to an American audience, which journalist Time: heroic past, are more likely to consider Zentropa the small voices saturation ‘Maverick’ and ‘rebel’ they desperately want to Authorship: cultural be. However, the very emphasis upon journalism and changing audience is clearly more radical than heroic quest for it may appear. Zentropa still has to be a ‘truth’ and ‘money’ legitimate artistic actor in Denmark, towards Rebel but dominant the Danish media that have begun to use player paradox Zentropa’s own successful past and ideology as a resource against them, and towards the Table 1: Narrative features and devices Danish state that provides them with funding, and towards Zentropa’s increasing number of What is characteristic of the kind of different partners in Danish film industry. All in rebel-story that Zentropa is telling is that it all this seems to call for much more needs an opponent against which Zentropa complicated stories than that of ‘Zentropa may define itself in order to remain a rebel. against everybody’, upon which the existing This may also be seen as the reason why ‘Maverick and ‘rebel’ identity thrives on. Zentropa increasingly turns its attention towards the international scene to maintain an

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REFERENCES Identity . The University of Chicago Press. Albert, S. and Whetten, D. (1985). Organizational Identity. In Czarniawska, B. (1998). A Narrative Approach Cummings,L.L and Staw, B.M. (eds.) to Organization Studies . Sage Research in Organizational Behavior , Publications. 7, 263-295. Greenwich, CT: JAI Press. Czarniawska, B. (1999). Writing Management . Albert, S.; Ashforth, B.E.; and Dutton, J.E Oxford University Press. (2000). Organizational Identity and Identification: Charting New Waters Darmer, P.; Strandgaard Pedersen, J. and and Building New Bridges. The Brorsen J.P. (2003). ’Zentropa – det Academy of Management Review , gaar ufatteligt godt’, in Ole Steen 25(1), 10-18. Andersen (red.), ’Organisationer i forandring’ . Copenhagen Business Alvarez, J.L., Mazza, C., Strandgaard School Press. Pedersen, J. and Svejenova, S. (2005). Shielding Idiosyncrasy from Isomorphic Darmer, P, C. Mathieu, J. Strandgaard Pressures: Towards Optimal Pedersen & S.M. Strandvad (2007) Distinctiveness in European Film Professionalisering i den danske Making. Organization , 12 (6), 863-888. filmindustri: Det Danske Filminstitut. I Bærenholdt, J.O. og J. Sundbo (eds.) Bakhtin, M. (1973). Problems of Dostojevski’s (2007). ’Oplevelsesøkonomi, Forbrug Poetics . Ardis Publishers. London. og Kultur’. Samfundslitteratur

Becker, H. (1982). Art Worlds . University Dogma 95 official website. Dogme-films . Presses of California, Columbia, and Retrieved June 2005: Princeton. http://www.dogme95.dk/menu/menuset .htm Boje, D.M. (1991) The Storytelling Organization: A Study of Story Downing, S. (1997). Learning the Plot. Performance in An Office Supply Firm. Management Learning 28 (1). Administrative Science Quarterly, 36(1), 106-126. Flyvbjerg, B. (2004). Five Misunderstandings About Case-study Research. Boje, D.M. (1995). Stories of the Storytelling Sociologisk tidsskrift (2): 117-143. Organization: A Postmodern Analysis Universitetsforlaget. Norge. of Disney as ‘Tamara Land’. Academy of Management Journal , 38 (4), 997- Frye, N. (1957). Anatomy of Criticism . 1035. Princeton University Press.

Boje, D.M. (2001). Narrative Methods for Gabriel, Y. (1995). The Unmanaged Organizational and Communication Organization: Stories, Fantasies and Research . Sage. Subjectivity. Organization Studies, 16(3), 477-501 Caves, R.E. (2000). Creative Industries . Cambridge, MA: Harvard University Gabriel, Y. (2000). Storytelling in Press. Organizations - facts, fiction and fantasies . Oxford University Press. Czarniawska, B. (1997). Narrating the Organization - Dramas of Institutional

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Gioia, D.A. (1998) From Individual to Strategic Perspectives on Organizational Identity. In Whetten, Entertainment and Media. New Jersey: D.A. and Godfrey, P.C. (eds.) Identity Lawrence Erlbaum Associates, in Organizations – Building Theory Publishers. Through Conversations .(pp.17-32). Sage Publications. London Martin, J. (2002). Organizational Culture: Mapping the Terrain. Thousand Oaks. Gioia, D.A., Schultz, M. and Corley, K.G. Sage. (2000). Organizational Identity, Image, and Adaptive Instability. The Academy Mathieu, C.J. (2006). Transforming the Danish of Management Review , 25(1), 63-81. Film Field Via ‘Professionalization’, Penetration and Integration. Journal of Grant, D., Michelson, G., Oswick, C. and Creativity and Innovation Management , Weiles, N. (2005) Guest editorial: vol. 15 (3), 242-249. Blackwell discourse and organizational change . Publishing Journal of Organizational Change Management , 18(1), 6-15. Mazza, C. and J. Strandgaard Pedersen (2004). ‘From Press to E-Media? The Harbord, J. (2002). Film Cultures . Sage Transformation of an Organizational Publications. London. Field’. Organization Studies . Vol. 25. Issue 6, July (pp.875-896) Hazen, M.A. (1993). Towards Polyphonic Organizations. Journal of Miller et al. (2001) Global Hollywood . London. Organizational Change Management , BFI Publishing 6(5), 5-26. Pine, B.J. and Gilmore, J.H. (1999). The Hjort, M. and MacKenzie, S. (eds.) (2003). Experience Economy . Harvard Purity and Provocation – Dogma 95 . Business School Press. Boston British Film Institute, London, UK: BFI Publishing. Pratt, M.G. and Foreman, P.O. (2000). Classifying Managerial Responses to Howkins, J. (2001) The Creative Economy: Multiple Organizational Identities. How People Make Money From Ideas . Academy of Management Review , Penguin Books. 25(1), 18-42.

Jakobsen, K. (2003). Dagbog fra Stake, R.E. (2000). Case Studies. In. Denzin Dogville .[Dogville Diary]. Gyldendal. and Lincoln (eds.) Handbook of Qualitative Research . Sage Kjaer, P. and Slatta, T. (eds.). (2007). The Publications, 435-454. Rise of the Nordic Business Press . Copenhagen: Copenhagen Business Stevenson, J. (2002). Lars von Trier – World School Press. Directors . British Film Institute. London. UK: BFI publishing. Lampel, J., Lant, T.K and J. Shamsie (2000). Balancing Act: Learning From Stevenson, J. (2003). Dogme Uncut – Lars von Organizing Practices in Cultural Trier, Thomas Vinterberg and the Gang Industries. Organization Science . 11(3): That Took on Hollywood . Santa Monica 263-269. Press: CA.

Lampel, J., Shamsie. J and T.K. Lant (eds.) Vilhelm, T. (2007). Filmbyen [The Film Town]. (2006 ). The Business of Culture. Ekstra Bladets Forlag. København.

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Wyatt, J. (1994). High Concept - Movies and Marketing in Hollywood . University of Texas Press. Austin

ACKNOWLEDGEMENTS very helpful comments and suggestions for improvement on the present version of the We are grateful to our colleagues Sami article. Research support for Strandgaard Boutaiba, Per Darmer, Mette L. Frederiksen, Pedersen is provided by the Social Science Chris Mathieu and Sara Strandvad for their Research Council and Copenhagen Business work and comments on an earlier draft of the School and for Reff Pedersen by Copenhagen article. We would also like to thank Nancy K. Business School. Napier and two anonymous reviewers for their

Anne Reff Pedersen is an Associate Jesper Strandgaard Pedersen is Professor in professor at Department of Organization, Organization Theory in the Department of Copenhagen Business School. Her current Organization at the Copenhagen Business research interest includes narrative analysis in School. His research has concerned cultural organizations, with focus on identities, and identity transformation processes in high- mergers, management ideas and tech firms, mergers and acquisitions, organizational change. She has published institutionalisation of managerial ideas and several articles and book chapters about practices, changes in the media and business narrative analysis in health care organizations. press field and strategies for organizing and Her latest book with Professor Finn Borum is managing creative enterprises. about a management understanding and a narrative understanding of mergers in public health care organisations.

APPENDIX 1: OVERVIEW OF DATA SOURCES.

Interviews: film directors (including Zentropa director von 19 in depth interviews (14 Zentropa informants Trier), by Laurant Tirard (2002) and 5 informants from the film industry). ‘Dogme Uncut – Lars von Trier, Thomas Company visits: Vinterberg and the Gang That Took on Several company visits over the eight-year Hollywood’, on the Dogma Manifesto, the timeframe (2000-2007). individuals and institutions involved and the movies, by Stevenson (2003) Secondary data: Books: ‘Diary from Dogville’, diary from the making of ‘The Director’s View’, a book of interviews with Dogville by Kirsten Jacobsen (2003) four generations of Danish directors (including von Trier), by Mette Hjort and Ib Bondebjerg ‘Purity and Provocation – Dogma 95’, reader (2000) on the Dogma 95 by Hjort and MacKenzie (eds.) (2003) ‘Lars von Trier – World Directors’, a book on von Trier and Zentropa, by Stevenson (2002) ‘Filmbyen’ [The Film Town] a book on the Film Town in Avedoere by Vilhelm (2007). ‘Moviemakers’ Master Class – Private lessons from the world’s foremost directors’, a book of interviews with 20 internationally recognized

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Biographies: ‘The Films by Lars von Trier – Coercion and ‘Dogville Confessions’ (documentary on the Liberation’, a book on the life of Lars von Trier making of ‘Dogville’) and his films by Peter Schepelern (2000). ‘Mandalay’ (behind the scenes documentary ‘Without Cigar – The Father, the Son and Film on the making of ‘Dogville’) Monger Peter Aalbæk Jensen’, biography on Zentropa producer Peter Aalbæk Jensen by ‘The Boss of Everything’ (behind the scenes Kirsten Jacobsen (2001) documentary on the making of ‘The Boss of Everything’ and on von Trier’s filming Video material : technique ‘Automation’) ‘De ydmygede’[‘The Humiliated’] by Jargil (1998) a documentary on Lars von Trier and Interviews with Zentropa filmmakers the making of the Dogma film ‘The Idiots’. (producers, directors and actors) and festival ‘The Purified’ by Jargil (2002) on the Dogma press conferences on DVD extra material Manifesto DVD extra material : News clippings: ‘Von Trier’s 100 eyes’ (documentary on the Newspaper articles obtained from INFOMEDIA making of ‘Dancer in the Dark’) database

APPENDIX 2: EVENTS IN THE HISTORY OF ZENTROPA

1992 and the Danish Film Academy’s award ‘Robert’ Producer Peter Aalbaek Jensen and Director for ‘Best Film’. Lars von Trier found Zentropa Entertainments A/S. Zentropa is also the American title of 1998 Lars von Trier’s prizewinning film Europa , Dogma #2:The Idiots by Lars von Trier which won the Grand Prix at the Cannes Film (second film in The Gold Hearted Trilogy) is Festival in 1991. selected for the official competition at the Cannes Film Festival. 1995 Puzzy Power (production of pornographic The Dogma 95 Manifesto and ‘The Vow of movies) is established (and later closed in Chastity’ (with the 10 Dogma Rules) is 2001). presented in Odeon Theatre in Paris. 1999 1996 Zentropa moves to the new Film Town in Breaking the Waves by Lars von Trier (first film Avedoere. in The Gold Hearted Trilogy) receives the ‘Grand Prix’ for most originality at the Cannes 2000 Film Festival. Dancer in the Dark (third film in von Trier’s The Portland by Niels Arden Oplev is selected for Gold Hearted Trilogy) receives the Golden the official competition at the International Film Palms and a prize for ‘Best Actress’ at the Festival in Berlin. Cannes Film Festival. ‘Tossegod’ Aps and new company structure is 1997 launched. Breaking the Waves by Lars von Trier wins the Distribution contract is signed with Nordisk Danish film critics’ award ‘Bodil’ for Best film Film.

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Production contract is signed with Fine Line The children’s film Wallah be by Pia Bovin (Time-Warner group). wins for ‘Best Children’s Film’ at the TVropa.com (Internet TV) is established. International Film Festival in Berlin. Production contract is signed with Sigma Films and Antoine Films in Scotland. 2004 Dogma 95 administrative office is established Dogville by Lars von Trier wins the Danish Film (51 films are certified). Critic’s prize (Bodil) for ‘Best Film’. Inheritance by Per Fly wins a Robert for ‘Best 2001 Film’. Italian for Beginners by Lone Scherfig receives In Your Hands by Annette K. Olesen is a Silver Bear a.k.a. ‘Jury Prize’, and three selected for the official competition at the independent prizes (The Berliner Morgenpost International Film Festival in Berlin. Audience Award; the FIPRESCI Prize and the Prize of the Ecumenical Jury) at the 2005 International Film Festival in Berlin. Brothers by Susanne Bier receives the Three Zentropa producers (Aalbaek Jensen, Audience Award at Sundance International Tardini and Windeloew) receive an ‘Honorary Film Festival. Manderlay by Lars von Trier is Bodil’ – a special Danish film award. selected for the official competition at the The Bench by Per Fly receives a ‘Robert’ for Cannes Film Festival. ‘Best Film’. Manslaughter by Per Fly receives The Nordic ZentAmerica Entertainment (Hollywood based) Council Film Prize is established. Zentropa receives the prestigious Douglas Sirk Trust Films Sales marketing contract with Award at the Film Festival in Hamburg Independent Digital Entertainment (IDE). Zentropa, Nimbus Film, M&M Productions and 2006 Regner Grasten Film establish a TV sales The Dream by Niels Arden Oplev receives a company called ‘OS’. Crystal Bear (Best Children’s Film) at the International Film Festival in Berlin. 2002 The Boss of Everything by von Trier is Minor Mishaps by Annette K. Olesen receives selected as opening film at the Copenhagen a Blue Angel for ‘Best European Film’ in the International Film Festival. competition at the International Film Festival in Berlin. 2007 Zentropa celebrates its 10-years anniversary. After the Wedding by Susanne Bier is Zentropa produces radio theatre for DR nominated and selected for competition in (Danish Broadcasting). ‘Best foreign film’ at the Oscar awards in ‘Dogumentary’ manifesto is presented. Hollywood. ‘Filmfabrikken’ [‘The Film Factory’] a joint 2003 venture between Zentropa and Grasten films, Open Hearts by Susanne Bier receives both a aiming at giving new talent an opportunity to Robert and a Bodil for ‘Best Film’. make films, is established. Dogville is selected for the official competition at the Cannes Film Festival.

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