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Danish Cinema and Dogma-95

Danish Cinema and Dogma-95. Dogma-95 Idea The Dogma Brethren Production Context Lars von Trier Dogma’s New Wave: The First The “Manifesto” and the “Vow of Chastity” The Celebration (1998) The Idiots (1998) The Second Wave of Dogma: Beyond the Brethren

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Danish Cinema and Dogma-95

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  1. Danish Cinema and Dogma-95 • Dogma-95 Idea • The Dogma Brethren • Production Context • Lars von Trier • Dogma’s New Wave: The First • The “Manifesto” and the “Vow of Chastity” • The Celebration (1998) • The Idiots (1998) • The Second Wave of Dogma: Beyond the Brethren • Young Danish Directors taken under von Trier’s wing • Italian for Beginners (2000) • Third Wave: International Dogma Production • Fourth Wave: Films Inspired by Dogma • After Dogma

  2. The Dogma Brethren • Danish Film School • Von Trier’s “Provocations” • Von Trier’s role in Danish Film • Revising cinematic convention • Element of Crime (1984) • The Kingdom (1994) • Lars von Trier as leader provocateur • Zentropa Productions est. 1994 • Film Town, Avedøre est. 1999 • Announcement of Dogma, 1995 • Dogma Brethren • Lars von Trier • Thomas Vinterberg • Søren Kragh-Jacobsen • Kristian Levring • Dogma #1-4 • The Celebration (1998, Festen) • The Idiots (1998, Idioterne) • Mifune (1999, Mifunes sidste sang) • The King is Alive (2000) Lars von Trier (1956- ) Thomas Vinterberg (1968- )

  3. Lars von Trier and Dogma 95 • Lars Von Trier (1956- • Danish Film School record • Personal life • Zentropa Entertainments (est. 1993) • Dogma 95 as a project has its source in von Trier’s methods and style • Themes • Tributes • Expressionism • Emotional provocation • Trilogies • Art film trilogy • Element of Crime (‘84), Epidemic (‘87), Europa (‘91) • Golden Heart trilogy • Breaking the Waves (‘96), Idiots ‘98), Dancer in the Dark (‘00) • USA trilogy • Dogville (‘03), Manderlay (‘05), Wasington (‘07) • Formal focus • Formal means vary to suit narrative material • Revision of genre • Dogma 95 • Experiments leading to Dogma 95 • The Kingdom (1994) • Breaking the Waves (1996) Lars von Trier Trier and Vinterberg

  4. The Kingdom (1994, Riget) • Sources • Belphégor (1960s)on Louvre’s Egyptology wing • Twin Peaks (1990-92) • Soap Opera • Semantics • Hospital setting • Characters as professionals • Syntax • Professional rivalries • Romantic interests • Scientific basis for plots • Formal aspects • Directorial freedom through TV financing • Casting • Handheld 16 mm cameras • Improvisational acting • Reception • Huge Danish Television Hit • Von Trier vaults to new notoriety • Genre revision as a means of access to audience Romantic subplot: Helmer (Ernst Hugo Järgård) and Rigmor (Ghita Nørby) Ghost story: Sigrid Drusse (Kirsten Rolffes)

  5. Breaking the Waves (1996) • Long-term project • $10 budget • DFI financing • EU financing • No Hollywood funding • Sources • Justine, Marquis de Sade • Guld Hjerte (Golden Hearted) • Formal aspects • Dogma-like experimentation • Steady-cam shots • Digital effects • From technique to character • Erotic Melodrama • Bess and Jan’s sexual relationship • Deeply sentimental film • Naturalist acting mitigates sentimentality • International breakthrough for LvT Jan (Stellan Skarsgård) and Bess (Emily Watson) happily married Distraught Bess refuses to let Jan return to his job on an oil rig

  6. Dogma Production Context • Ministry of Culture Commitment • Minister of Culture Jytte Hilden’s promise to Lars von Trier, 1995 • 15 million crowns for four films • Accusations of special treatment • Appropriation directed to DFI and consultant system • Brethren refuse to apply to DFI for Dogma money • Restructuring of Funding strategy for Dogma • Agreement with Danish Broadcasting (DR) • Bjørn Erichsen • “Public service” • Co-production and distribution agreements with Nordic public television companies • Zentropa productions (von Trier’s company) as producer DR’s Bjørn Erichsen

  7. The “Manifesto” and the “Vow” • What is a manifesto? • “A public declaration, usually of political, religious, philosophical or literary principles and beliefs” • Typical of modernist, avant-garde art movements • Aims of the manifesto? • Seriousness • Irony • Provocative mode of self-aware public definition • Aesthetic • Public relations dimensions • The Vow of Chastity • Limiting filmmaker’s options as a source of novelty • Stripping film of organizing structures • Hollywood narrative illusion • Auteur cinema intention • Realist recovery of cinema? • Emotional access Certified Dogma, The Celebration (1998)

  8. Danish Dogma Films:Dogma #1,The Celebration (1998) • Thomas Vinterberg Director • Mogens Rukov, collaborating screenwriter • Tight unity of place and action • “Acting out” in a traditional, if shocking, drama • Resonance with Scandinavian theater tradition • Film’s mysterious sources Christian ejected from his father’s birthday in The Celebration

  9. Idioterne (The Idiots, 1998) • Dogma #2 • A group of dissenters • French new wave style • Opportunity to create ‘authenticity’ • Transgression • Form • Content • Trieresque fixations • Redeeming woman • Disability as insight • Melodramatic struggle • Von Trier’s expressionism? The group at Søllerud Karen ‘spassing’

  10. Second Wave: Beyond the Brethren • Dogme # 12: Italian for Beginners (Italiensk For Begyndere Lone Scherfig, 2000) • Dogme # 18: Truly Human (Et Rigtigt Menneske, Åke Sandgren, 2001) • Swedish filmmaker trained in Denmark • Challenging middle-class conventions • Dogme # 21: Kira’s Reason (En Kærlighedshistorie, Ole Christian Madsen, 2001) • Rising name in Danish cinema • Gritty look at mental illness • Dogme #28: Open Hearts (Elsker Dig For Evigt Susanne Bier, 2002) • Susanne Bier • 9/11 connection • Melodrama • Popular appeal Kira’s Reason (2002) Open Hearts (2002)

  11. Danish Dogma Films:Italian for Beginners (2000) • Director Lone Scherfig • Director of Morten Korch TV melodramas for Zentropa • First non-brethren film • Dogma emphasis • Collaboration with actors • Digital video intimacy • Emotionally raw film • Dogma variations • Clearly plotted • Steady camera • Lack of close-ups • Romantic Comedy • Four Weddings and a Funeral (1994) • Biggest Dogma success • “Second Generation” Dogma in Church Romantic Confusions

  12. The Third Wave: International Dogma Film • Non-Danish films to receive Dogma certification, prior to June, 2002 • Dogme # 6: Julien Donkey-Boy (Harmony Korine, USA, 1999) • Dogme # 7: Interview (Daniel H. Byun, Korea) • Dogme #31: El Desenlace (Juan Pinzas, Spain) • Dogma’s “Brand Logic” • A New Danish Wave? • A Cheap Way to Make Questionable Films? Harmony Korinr and Werner Herzog on the set of Julien Donkey-Boy (1999)

  13. Wave Four: Dogma Inspiration • Distribution of Dogma Cinema in the US • Blockbuster and boutique • Universal Studios • USA Films and October films • Boutique aesthetics and profits • sex, lies, and videotape (1989) • Life is Beautiful (1997) • My Big Fat Greek Wedding (2002) • US distribution and Dogma • Dogma-Inspired Films • Traffic (2000, Stephen Soderbergh) • Monsoon Wedding (Mira Nair, 2001) • Full Frontal (2002, Stephen Soderbergh) • “All sets are practical locations” • “You will drive yourself to the set” • “You will create and maintain your hair and make-up” Lush drug life in Traffic, 2000 Gritty drug life in Traffic, 2000

  14. Trier’s Rejection of Dogma: The America Trilogy • America Trilogy • Dogville (2003) • Manderlay (2005) • Wasington (2007) • Sources • Brecht’s “Pirate Jenny” • Narratives of Hollywood-style vengeance and justice • 1970s BBC Nicholas Nickelby production • Von Trier’s problem • Aesthetic vision • Melodramatic passion • Political consequences Nicole Kidman as Grace Stage set outlined in chalk

  15. Conclusion • Dogma as a Danish phenomenon • Challenge to funding conventions • Lars von Trier’s provocation • Dogma as a globalized cinema convention • ‘Open source code’ • Under the radar digital cinema • “Gritty, indie cinema” • What’s the future of Dogma?

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