Chapters in this book

1. Frontmatter i
2. CONTENTS v
3. List of Figures viii
4. Acknowledgments xi
5. Notes on Contributors xii
6. Introduction 1
7. PART I: FROM THE FIRST ‘GOLDEN AGE’ TO THE OCCUPATION
8. 1. Surviving a Crisis: Nordisk Films Kompagni as a World Player 21
9. 2. Asta & Co.: The Politics of Early Danish Film Stardom 30
10. 3. The European Principle: Art and Border-Crossings in Carl Theodor Dreyer’s Career 41
11. 4. Derailed: Danish Film during the German Occupation 51
12. PART II: NATIONAL GENRES
13. 5. The Art of the Popular: The Folkekomedie Tradition 65
14. 6. Social Realism of the 1940s: Between Paternalistic Care and Dignifying Humanism 81
15. 7. Imagining Denmark: Danmarksfi lm as Documentary Portraits of a Nation 93
16. 8. Rural Dreams: Landscape, Family, Sexuality and Queerness in Homeland Cinema 105
17. 9. The Olsen Gang in Denmark – And Abroad 118
18. 10. Making a Life of Your Own: Films for Children and Young People in the 1970s and 1980s 128
19. 11. Pornography and Censorship 140
20. PART III: AUTEURS AND INSTITUTIONS OF THE NEW GOLDEN AGE
21. 12. Into the Dark Forest: The Cinema of Lars von Trier 151
22. 13. ‘I Am No Longer an Artist’: Heritage Film, Dogme 95 and the New Danish Cinema 161
23. 14. Stories of Scandinavian Guilt and Privilege: Transnational Danish Directors 174
24. 15. Danish Television Drama in the Twenty-First Century: New Synergies between Film and Television 189
25. 16. New Danish Screen and The Sketch: The Role of Imposed and Self-Imposed Constraints in Talent Development 200
26. PART IV: DECENTRING AND DIVERSIFYING DANISH CINEMA
27. 17. Danish Documentary Production: An All-Female Company 219
28. 18. Welcome to Denmark: Immigrants and Their Descendants in Danish Cinema 230
29. 19. Dirty Films: Grimy Materialism and Ecological Aesthetics 241
30. 20. Regional Film Funds and Production 252
31. 21. ‘Finally, We’re Beginning to Tell Our Own Stories’: Filmmaking in Greenland 263
32. References 277
33. Index 303