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Nordisk Films Kompagni 1906–1924 by Isak Thorsen Pdf
This comprehensive study of the Danish film company demonstrates how it became one of the most important innovators of the silent era. Established in 1906, Nordisk Films Kompagni’s rise and fall is one of the most dramatic stories of the early film industry. Based on archival research, primarily in the company’s surviving business archives, this volume describes and analyzes how Nordisk Films became one of the leading players in the world market—and why the company failed to maintain this position. Isak Thorsen examines Nordisk Film as a business and organization, from its establishment in 1906 until 1924 when founder Ole Olsen stepped back. He covers a wide range of topics, including the competitive advantages Nordisk Film gained in reorganizing the production to multiple-reel films around 1910; the company’s highly efficient film production which anticipated the departmentalized organization of Hollywood; Nordisk Film’s aggressive expansion strategy in Germany, Central-Europe and Russia during the First World War; and the grand plans for taking control of UFA in association with the American Famous Players in the post-war years.
New Perspectives on Early Cinema History by Mario Slugan,Daniël Biltereyst Pdf
In this book, editors Mario Slugan and Daniël Biltereyst present a theoretical reconceptualization of early cinema. To do so, they highlight the latest methods and tools for analysis, and cast new light on the experience of early cinema through the application of these concepts and methods. The international host of contributors evaluate examples of early cinema across the globe, including The May Irwin Kiss (1896), Un homme de têtes (1900), The Terrible Turkish Executioner (1904) and Tom Tom the Piper's Son (1905). In doing so, they address the periodization of the era, emphasizing the recent boon in the availability of primary materials, the rise of digital technologies, the developments in new cinema history, and the persistence of some conceptualizations as key incentives for rethinking early cinema in theoretical and methodological terms. They go on to highlight cutting-edge approaches to the study of early cinema, including the use of the Mediathread Platform, the formation of new datasets with the help of digital technologies, and exploring the early era in non-western cultures. Finally, the contributors revisit early cinema audiences and exhibition contexts by investigating some of the earliest screenings in Denmark and the US, exploring the details of black cinema going in Harlem, and examining exhibition practices in Germany.
The Life and Afterlife of Swedish Biograph by Jan Olsson Pdf
Sweden’s early film industry was dominated by Swedish Biograph (Svenska Biografteatern), home to star directors like Victor Sjöström and Mauritz Stiller. It is nostalgically remembered as the generative site of a nascent national artform, encapsulating a quintessentially Nordic aesthetic—the epicenter of Sweden’s cinematic Golden Age. In The Life and Afterlife of Swedish Biograph, veteran film scholar Jan Olsson takes a hard look at this established, romanticized narrative and offers a far more complete, complex, and nuanced story. Nearly all of the studio’s original negatives were destroyed in an explosion in 1941, but Olsson’s comprehensive archival research shows how the company operated in a commercial, international arena, and how it was influenced not just by Nordic aesthetics or individual genius but also by foreign audiences’ expectations, technological demands, Hollywood innovations, and the gritty back-and-forth between economic pressures, government interference, and artistic desires. Olsson’s focus is wide, encompassing the studio’s production practices, business affairs, and cinematographic conventions, as well as the latter-day archival efforts that both preserved and obscured parts of Swedish Biograph’s story, helping construct the company’s rosy legacy. The result is a necessary rewrite to Swedish film historiography and a far fuller picture of a canonical film studio.
Paolo Cherchi Usai provides a comprehensive introduction to the study, research and preservation of silent cinema from its heyday in the early 20th century to its present day flourishing. He traces the history of the moving image in its formative years, from Edison's and Lumière's first experiments to the dawn of 'talkies'; provides a clear guide to the basics of silent film technology; introduces the technical and creative roles involved in its production, and presents silent cinema as a performance event, rather than a passive viewing experience. This new, greatly expanded edition takes the reader on a new journey, exploring silent cinema in the broader context of technology, culture, and society, from the invention of celluloid film and its related machinery to film studios, laboratories, theatres and audiences. Among the people involved in the creation of a new art form were filmmakers, actors and writers, but also engineers, entrepreneurs, and projectionists. Their collective efforts, and the struggle to preserve their creative work by archives and museums, are interwoven in a compelling story covering three centuries of media history, from the magic lantern to the reinvention of silent cinema in digital form. The new edition also includes comprehensive resource information for the study, research, preservation and exhibition of silent cinema.
The Politics of Nordsploitation by Pietari Kääpä,Tommy Gustafsson Pdf
The Politics of Nordsploitation takes a transnational approach to exploring Nordic 'exploitation' films in their industrial contexts, viewing them as not only political manifestations of domestic considerations but also to position Nordic film cultures in a global context. Incorporating a wide range of films, from international cult classics like They Call Her One Eye (1974), homegrown martial arts films like The Ninja Mission (1984) to contemporary crowd-sourced fan productions like Iron Sky (2012), this volume examines the remarkable diversity of genre-based, commercially and culturally exploitative film production throughout the Nordic countries emphasized here through the term 'Nordsploitation'. This volume provides a historical exposition of largely ignored marginal films and film cultural patterns. It also outlines how influential these films have been in shaping the development of Nordic cinema. The effects are visible in the films of the new millennium as previously marginalized practices now enter the mainstream. With sharp insights and new research, The Politics of Nordsploitation redefines the concept of 'exploitation' and its role in small nation cinemas.
Nordic Explorations by John Fullerton,Jan Olsson Pdf
Nordic Explorations: Film Before 1930 includes twenty previously unpublished essays written for the 1999 retrospective of Nordic cinema at la Giornate del Cinema Muto in Italy. It brings together leading research on early cinema in Denmark, Finland, Norway and Sweden, and includes essays on some of the major figures in Nordic cinema including Dreyer, Christensen, Sjöstrom and Stiller. Much current research in Nordic film before 1930 is also represented in this anthology with studies of the Norwegian travel genre, Nordic animated film, the relation of Nordic cinema to German and Russian film, the development of educational cinema and industrial film, as well as studies of individual films, filmmakers and national styles, and the relation of the medium to other forms of popular entertainment.The essays make a timely contribution to the more general study of cinema, afford authoritative and stimulating insight into research in the field and challenge many assumptions regarding Nordic cinema before 1930.
Denmark is the oldest monarchy in Europe. At different points in its history, Denmark's boundaries have encompassed England, Sweden, West Africa, India, and the West Indies. Despite its changing and relatively small boundaries, Denmark has played a much larger part in the politics of Europe than might be expected. Additionally, through its territories (Faroe Islands and Greenland), Denmark has managed to retain an important presence in the North Atlantic. Today, democratic Denmark, with its thriving capital Copenhagen, is peaceful, prosperous, and progressive. Within NATO, Denmark has contributed to peace-keeping in the Persian Gulf and Bosnia. The "Danish Model" of welfare gives Danes a real sense of social security and presents many naysayers with a provocative example of a successfully managed welfare state. Danes have a reputation for inventiveness and good design, whether in architecture, furniture, or industrial design. The A to Z of Denmark relates the history of this successful country through a chronology, an introductory essay, appendixes, a bibliography, and hundreds of cross-referenced dictionary entries on kings, politicians, officials, explorers, authors, architects, composers, painters, astronomers, educationists, reformers, political parties, social movements, and other aspects of Danish society.
Film is the world's most popular artistic medium. What began as a novelty at country fairs rapidly became the consummate art form of the twentieth century, spanning both popular culture and high art. The Film Book enables you to identify different cinematic genres, appreciate the style of celebrated directors, see how a film is made, and understand why the greatest movies deserve their reputation. The book is unique in encompassing each of these key aspects and, as such, outspans the many other guides and film companions on the market. The guide is split into seven distinct sections, each of which deals with a particular aspect of film. The first of these chapters is a detailed history of the art form over the last 120 years, charting its evolution from a musical event accompanied by pictures, through its numerous developments and innovations-talking pictures; color film; video and DVD; online films; computer-generated special effects; and the modern 3D experience. The second shows how these techniques are applied in practice, taking the reader behind the camera to explore the film-making process and find out who's who on set, offering a useful insight into how movies are brought to life. Sections 3 to 6 look at the films themselves. Providing an overview of cinematic styles and genres, the third section covers everything from westerns, musicals, and sci-fi to arthouse cinema, the avant-garde, and the cult movie, whilst the fourth compares and contrasts the major styles of international cinema, with key schools, movements, directors, and films. The fifth section profiles 100 of the film industry's greatest and most influential directors, listing their key works and assessing their cinematic legacy, whilst the sixth section discusses 100 key cinematic works which invented, extended, or reinvented the art form. The closing section of the book is an interesting, and often provocative, range of lists compiled by a variety of film associations, publications, and institutions. Comprehensive, authoritative, and written with passion and verve, The Film Book is a unique treasure-trove of a guide that will appeal to anyone who loves movies. Table of Contents Prelims (5pp) Introduction (4pp) The story of film (56pp) 1896-1919: The Birth of Cinema 1920-1929: Silence is Golden 1930-1939: The Cinema Comes of Age 1940-1949: The Cinema Goes to War 1950-1959: The Cinema Fights Back 1970-1979: Independence Days 1980-1989: The International Years 1990-: Celluloid to Digital How movies are made (20pp) Pre-production Production Post-production World cinema (52pp) Africa The Middle East Iran Eastern Europe (including Poland, Hungary, and the Czech Republic) The Balkans (including Yugoslavia, Bugaria, Romania, Greece, and Turkey) Russian The Nordic countries (including Finland, Sweden, Norway, and Denmark) Germany France Italy United Kingdom Spain Portugal Canada Central America South America (including Argentina, Brazil, Mexico, and Chile) Australian and New Zealand China, Hong Kong, and Taiwan Japan Korea India Movie genres (52pp) Action-adventure Animation Avant-garde Biopic Comedy Costume drama Cult Disaster Documentary Epic Film Noir Gangster Horror Martial Arts Melodrama Musicals Propaganda Science Fiction and Fantasy Serials Series Teen Thrillers War Westerns 100 Key directors (92pp) Woody Allen Pedro Almodo ́var Robert Altman Michelangelo Antonioni Ingmar Bergman Bernado Bertolucci Tod Browning Luis Bun~uel Tim Burton Jane Campion Frank Capra Marcel Carne ́ Charlie Chaplin Chen Kaige Joel and Ethan Coen Francis Ford Coppola David Cronenburg George Cukor Michael Curtiz Cecil B. DeMille Jonathan Demme Brian De Palma Vittorio De Sica Stanley Donen Carl Drayer Clint Eastwood Blake Edwards Sergei Eisenstein Rainer Werner Fassbinder Federico Fellini Victor Fleming John Ford Milos Forman Abel Gance Jean-Luc Godard D.W. Griffith Howard Hawks Werner Herzog Alfred Hitchcock Hou Hsiao-Hsien John Huston Peter Jackson Elia Kazan Buster Keaton Krzysztof Kieslowski Fritz Lang David Lean Ang Lee Spike Lee Sergio Leone Ernst Lubitsch George Lucas Sidney Lumet David Lynch Alexander Mackendrick Joseph L. Mankiewicz Sam Mendes Lewis Milestone Vincente Minnelli F.W. Murnau Max Ophu ̈ls Yasujiro Ozu Georg Wilhelm Pabst Pier Paolo Pasolini Sam Peckinpah Roman Polanski Michael Powell/Emeric Pressburger Nicholas Ray Satyajit Ray Carol Reed Jean Renoir Eric Rohmer Roberto Rossellini John Schlesinger Martin Scorsese Ridley Scott Stephen Spielberg Josef von Sternberg Oliver Stone Erich von Stroheim Quentin Tarantino Andrei Tarkovsky Jacques Tati Franc ̧ois Truffaut Dziga Vertov Luchino Visconti Andrzej Wajda Raoul Walsh Peter Weir Orson Welles William Wellman Wim Wenders Billy Wilder Robert Wise John Woo William Wyler Franco Zeffirelli Zhang Yimou 100 Key Movies (52pp) Birth of a Nation (D.W. Griffith, 1915) The Cabinet of Dr. Caligari (Robert Wiene, 1919) Nosferatu: A Symphony of Terror (F.W. Murnau, 1921) Nanook of the North (Robert Flaherty, 1922) The Battleship Potemkin (Sergei Eisenstein, 1925) Metropolis (Fritz Lang, 1926) Napole ́on (Abel Gance, 1927) An Andalucian Dog (Un Chien Andalou) (Luis Bun~uel, 1928) The Passion of Joan of Arc (Carl Dreyer, 1928) All Quiet on the Western Front (Lewis Milestone, 1930) The Blue Angel (Joseph von Sternberg, 1930) City Lights (Charlie Chaplin, 1931) 42nd Street (Lloyd Bacon, 1933) Duck Soup (Leo McCarey, 1933) King Kong (Merian Cooper/Ernest Schoedsack, 1933) L'Atalante (Jean Vigo, 1934) Snow White and the Seven Dwarfs (Walt Disney, 1937) Olympia (Leni Riefenstahl, 1938) The Rules of the Game (La Re`gle du Jeu) (Jean Renoir, 1939) Gone with the Wind (Victor Fleming, 1939) The Philadelphia Story (George Cukor, 1940) His Girl Friday (Howard Hawks, 1940) The Grapes of Wrath (John Ford, 1940) Citizen Kane (Orson Welles, 1941) The Maltese Falcon (John Huston, 1941) The Little Foxes (William Wyler, 1941) To Be or Not To Be (Ernst Lubitsch, 1942) In Which We Serve (Noe ̈l Coward, 1942) Casablanca (Michael Curtiz, 1942) Ossessione (Luchino Visconti, 1942) Children of Paradise (Les Enfants du Paradis) (Marcel Carne ́, 1945) A Matter of Life and Death (Michael Powell/Emeric Pressburger, 1946) It's a Wonderful Life (Frank Capra, 1946) Bicycle Thieves (Ladri Di Biciclette) (Vittorio de Sica, 1948) Letter from an Unknown Woman (Max Ophu ̈ls, 1948) Passport to Pimlico (Henry Cornelius, 1949) The Third Man (Carol Reed, 1949) Orpheus (Orphe ́e) (Jean Cocteau, 1950) Rashomon (Akira Kurosawa, 1950) Singin' in the Rain (Gene Kelly/Stanley Donen, 1952) Tokyo Story (Yasujiro Ozu, 1953) On the Waterfront (Elia Kazan, 1954) All That Heaven Allows (Douglas Sirk, 1955) Rebel Without a Cause (Nicholas Ray, 1955) Pather Panchali (Satyajit Ray, 1955) The Night of the Hunter (Charles Laughton, 1955) The Seventh Seal (Ingmar Bergman, 1957) Vertigo (Alfred Hitchcock, 1958) Ashes and Diamonds (Andrzej Wajda, 1958) The 400 Blows (Franc ̧ois Truffaut, 1959) Some Like it Hot (Billy Wilder, 1959) Breathless (A Bout de Souffle) (Jean-Luc Godard, 1960) La Dolce Vita (Federico Fellini, 1960) Saturday Night and Sunday Morning (Karel Reisz, 1960) L'Avventura (Michelangelo Antonioni, 1960) Last Year in Marienbad (Alain Resnais, 1961) Lawrence of Arabia (David Lean, 1962) Dr. Strangelove (Stanley Kubrick, 1964) The Battle of Algiers (Gillo Pontecorvo, 1965) The Sound of Music (Robert Wise, 1965) Andrei Rublev (Andrei Tarkovsky, 1966) The Chelsea Girls (Andy Warhol, 1966) Bonnie and Clyde (Arthur Penn, 1967) The Wild Bunch (Sam Peckinpah, 1969) Easy Rider (Dennis Hopper, 1969) The Conformist (Bernardo Bertolucci, 1969) The Godfather (Francis Ford Coppola, 1972) Aguirre, Wrath of God (Werner Herzog, 1972) Nashville (Robert Altman, 1975) In the Realm of the Senses (Ai No Corrida) (Nagisa Oshima, 1976) Taxi Driver (Martin Scorsese, 1976) Annie Hall (Woody Allen, 1977)
Historical Dictionary of Denmark by Alastair H. Thomas,Stewart P. Oakley Pdf
Reaches well beyond politics and warfare into the economy, society, art, music, literature, and religion. Additionally, there is a look at the welfare state and at Danish relations with the European Union and countries outside of Europe.
The Reception of Charles Dickens in Europe by Michael Hollington Pdf
The Reception of Charles Dickens in Europe offers a full historical survey of Dickens's reception in all the major European countries and many of the smaller ones, filling a major gap in Dickens scholarship, which has by and large neglected Dickens's fortunes in Europe, and his impact on major European authors and movements. Essays by leading international critics and translators give full attention to cultural changes and fashions, such as the decline of Dickens's fortunes at the end of the nineteenth century in the period of Naturalism and Aestheticism, and the subsequent upswing in the period of Modernism, in part as a consequence of the rise of film in the era of Chaplin and Eisenstein. It will also offer accounts of Dickens's reception in periods of political upheaval and revolution such as during the communist era in Eastern Europe or under fascism in Germany and Italy in particular.
