7 Gender Equity in Screen Culture: On Susanne Bier, the Celluloid Ceiling, and the Growing Appeal of TV Production

Kapitel in diesem Buch

1. Frontmatter iii
2. Contents vii
3. Figures ix
4. Notes on Contributors xii
5. Foreword by Andrew Nestingen xv
6. Introduction: Susanne Bier’s Boundary-crossing Screen Authorship 1
7. Part 1 Generic and Industrial Fluidity
8. Introduction 13
9. 1 Storytelling Schemes, Realism, and Ambiguity: Susanne Bier’s Danish Dramas 19
10. 2 Negotiating Special Relationships: Susanne Bier’s Comedies 36
11. 3 Susanne Bier’s Hollywood Experiments: Things We Lost in the Fire and Serena 56
12. Part 2 Negotiating Identity
13. Introduction 79
14. 4 Beginning with Jewish Survival: Freud’s Leaving Home 83
15. 5 Stories with Queer Identities 97
16. 6 Judaism and Danish Directors: The Case of Lars von Trier vs. Susanne Bier 113
17. 7 Gender Equity in Screen Culture: On Susanne Bier, the Celluloid Ceiling, and the Growing Appeal of TV Production 134
18. Part 3 Authorship and Aesthetics
19. Introduction 149
20. 8 Tracing Affect in Susanne Bier’s Dramas 155
21. 9 Vision and Ethics in A Second Chance (En chance til) 173
22. 10 The Truth is in the Eyes: Susanne Bier’s Use of Close-ups in The Night Manager 187
23. Part 4 Transnational Reach
24. Introduction 205
25. 11 Cinema of the World and Women’s Film Culture: Susanne Bier’s Transnational Cinema 211
26. 12 From Local to Global: The Bier/Jensen Screenwriting Collaboration 229
27. 13 Danish Privilege and Responsibility in the Work of Susanne Bier 243
28. Postscript: A Conversation with Susanne Bier 261
29. Filmography of Susanne Bier 283
30. Acknowledgments 285
31. Index 286