No. 1

Gunhild AggerDanish Originals and

Transnational TransformationsECREA, Istanbul

24-27 October 2012

No. 2

Nestingen & Elkington: Transnational Cinema in a Global North (2005)“Financing for Nordic cinema productions is

often multinational; the cultural-political bodies that provide funding for cinema cannot be fitted neatly within the borders of a single nation-state; and the networks of production, distribution and exhibition through which all films pass are transnational.” (p. 2)

No. 3

Ib Bondebjerg and Eva Novrup Redvall (2011): A Small Region in a Global world. Patterns in Scandinavian Film and TV Culture• “Cinema is no longer the key element in a

film’s life.” (Bondebjerg and Redvall 2011: 12)

• “the national market is the most important” compared to the Scandinavian market and the EU market (Bondebjerg and Redvall 2011: 8)

No. 4

The transnational trend and the importance of the domestic audience• Danish art films• Danish mainstream films that that have a

cross cultural appeal • Films produced in a foreign culture by a

Danish director

No. 5

Susanne Bier and Lone Scherfig

• Both made their break-through in a domestic context with romantic comedies

• Susanne Bier with Den eneste ene (The One and Only, 1999, 843.472 admissions)

• Lone Scherfig with Italiensk for begyndere (Italian for Beginners, 2000), a Dogme production, 828,730 admissions (Source: Facts and Figures, DFI.dk)

No. 6

Susanne Bier cinematic strategy: a cross cultural approach

• The One and Only remade in England (2002, director Simon Cellan Jones)

• Elsker dig for evigt (Open Hearts 2002, manuscript: Anders Thomas Jensen, dogma film)

• Brødre (2004) • Efter Brylluppet (After the Wedding, 2006), nominated for an

Academy reward • Brothers (American remake, 2009, Director: Jim Sheridan)• Things We Lost in the Fire (2007), produced by the English

production company Neal Street Productions with primarily an American cast

• In a Better World (2010), received an Academy reward and a Golden Globe 2011

• Den skaldede frisør (Love is All You Need, 2012)

No. 7

Susanne Bier: the Breakthrough

Den eneste ene (The One and Only, 1999) – romantic comedy, 843.472 admissions

Elsker dig for evigt (Open Hearts, 2002) – realistic drama, Dogma film, 506.493 admissions

No. 8

The One and Only (2002, I: Simon Cellan Jones)

No. 9

The War and Family film Brødre (Brothers) 2004

No. 10

Brothers 2009 (I: Jim Sheridan)

No. 11

Things We Lost in the Fire (2007)

No. 12

Hollywoodization?

“In many of the new Danish films some minor stories have just been expanded to stress a similarity to American films. Danish film has become more sentimental, furnished with more cheap tricks.” (Lars von Trier 2005 in Ekko, Schepelern 2005: 26, my translation). Attacking

- Susanne Bier- Kim Fupz Aakeson - Anders Thomas Jensen

No. 13

Brothers 2004 / American remake 2009

Similarities:Both versions openly ask salient questions about the

consequences of participating in warDifferences:national traditions as well as family traditions in

warfare – due to the different cultural framesDanish version: 424,542 admissions in Danish

cinemas American version: 1,910 admissions in Danish

cinemas

No. 14

Hævnen (In a Better World) 2010

2011: Golden Globe2011: Academy Rewarda clear-cut thematic global scope:Africa and Denmark – contrasts and surprisingparallels

No. 15

No. 16

‘Romantic comedy’

Visually relating to Walt Disney Cindarella storyBanal music: Dean Martins That’s AmoreSorrentoClear primary colors: yellow, blue, red

The romantic comedy with a twist or two

No. 17

- Wilbur Wants to Kill Himself (2002)- An Education (2009): three Academy

Award nominations- A full

adaptationto a foreignfilm culture