By Mette Hjort
Small state, worldwide Cinema engages the consequences of globalization from the point of view of small international locations. Focusing her learn at the particular cultural context of the overseas movie industry, Mette Hjort argues that the hot Danish Cinema provides a chance to appreciate the consequences of globalization in the tradition and economic climate of a privileged small nation. Hjort deals key options underwriting the transformation and globalization of latest Danish cinema—the procedures of cultural move and the mental efficacy of historical past. Exploring the Dogma ninety five move initiated through Lars von Trier and Thomas Vinterberg in addition to movies through Erik Clausen, Gabriel Axel, Henning Carlsen, and Ole Bornedal, between others, Hjort examines skill for cinematic globalization particular to Denmark, yet then evolves her research right into a actually comparative framework encompassing references to Hong Kong, Latin the USA, and Hollywood filmmaking. supplying a clean method of taking a look at cultural impact within the period of globalization, Hjort’s idea of “small” kingdom issues as a lot to the dynamics of popularity, indifference, and participation because it does to extra universal measures of inhabitants measurement, financial energy, or linguistic reach. Mette Hjort is professor of intercultural reviews at Aalborg college.
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Additional resources for Small Nation, Global Cinema: The New Danish Cinema (Public Worlds)
Sample text
The point to be made here is that nation-state agendas, ideologies, and institutional apparatuses are at once the local conditions for the workings of various globalizations and, to a certain extent, symptoms of these phenomena’s impact and transformative capacity. To focus on a given nation- state and the geographic territory that it spans is not, then, to embrace a monadic conception of the entity in question but to see it as a fascinating laboratory for understanding the efficacities of various globalizations.
1999) is one among several compelling interventions along these lines. The more moderate approach that looks for continuities along with transformations, for what David Leiwei Li calls “the changing nature of the nation- state” (2004, 1), strikes me as more empirically reliable than any approach that effectively rules out the nation- state as a legitimate unit of analysis. Nation-states may not have the autonomies or efficacities they once had, but the fact remains that many key institutional frameworks and policy directives find expression at the nation-state level, even when they involve an address to transnational, international, or global realities.
Susanne Bier’s The One and Only (Den eneste ene, 1999), which sold over eight hundred thousand tickets nationally, helped further to legitimate the efforts of Danish filmmakers among popular audiences and provided definitive proof that the now 60/40 policy and the strategy of state withdrawal were working as originally intended. Youth and Creativity: The Hebephilic State The extent to which creativity is held to be an important value varies considerably from one cultural context to another, as does the pervasive sense of how creativity is to be stimulated or where it is likely to be found.