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