1. No. 1 Gunhild Agger Danish Originals and Transnational Transformations ECREA, Istanbul 24-27 October 2012

2. No. 2 Nestingen & Elkington: Transnational Cinema in a Global North (2005) “Financing for Nordic cinema productions is often multinational; the cultural-political bodies that provide funding for cinema cannot be fitted neatly within the borders of a single nation-state; and the networks of production, distribution and exhibition through which all films pass are transnational.” (p. 2)

3. No. 3 Ib Bondebjerg and Eva Novrup Redvall (2011): A Small Region in a Global world. Patterns in Scandinavian Film and TV Culture “Cinema is no longer the key element in a film’s life.” (Bondebjerg and Redvall 2011: 12) “the national market is the most important” compared to the Scandinavian market and the EU market (Bondebjerg and Redvall 2011: 8)

4. No. 4 The transnational trend and the importance of the domestic audience Danish art films Danish mainstream films that that have a cross cultural appeal Films produced in a foreign culture by a Danish director

5. No. 5 Susanne Bier and Lone Scherfig Both made their break-through in a domestic context with romantic comedies Susanne Bier with Den eneste ene (The One and Only, 1999, 843.472 admissions) Lone Scherfig with Italiensk for begyndere (Italian for Beginners, 2000), a Dogme production, 828,730 admissions (Source: Facts and Figures, DFI.dk)

6. No. 6 Susanne Bier cinematic strategy: a cross cultural approach The One and Only remade in England (2002, director Simon Cellan Jones) Elsker dig for evigt (Open Hearts 2002, manuscript: Anders Thomas Jensen, dogma film) Brødre (2004) Efter Brylluppet (After the Wedding, 2006), nominated for an Academy reward Brothers (American remake, 2009, Director: Jim Sheridan) Things We Lost in the Fire (2007), produced by the English production company Neal Street Productions with primarily an American cast In a Better World (2010), received an Academy reward and a Golden Globe 2011 Den skaldede frisør (Love is All You Need, 2012)

7. No. 7 Susanne Bier: the Breakthrough Den eneste ene (The One and Only, 1999) – romantic comedy, 843.472 admissions Elsker dig for evigt (Open Hearts, 2002) – realistic drama, Dogma film, 506.493 admissions

8. No. 8 The One and Only (2002, I: Simon Cellan Jones)

9. No. 9 The War and Family film Brødre (Brothers) 2004

10. No. 10 Brothers 2009 (I: Jim Sheridan)

11. No. 11 Things We Lost in the Fire (2007)

12. No. 12 Hollywoodization? “In many of the new Danish films some minor stories have just been expanded to stress a similarity to American films. Danish film has become more sentimental, furnished with more cheap tricks.” (Lars von Trier 2005 in Ekko, Schepelern 2005: 26, my translation). Attacking -Susanne Bier -Kim Fupz Aakeson -Anders Thomas Jensen

13. No. 13 Brothers 2004 / American remake 2009 Similarities: Both versions openly ask salient questions about the consequences of participating in war Differences: national traditions as well as family traditions in warfare – due to the different cultural frames Danish version: 424,542 admissions in Danish cinemas American version: 1,910 admissions in Danish cinemas

14. No. 14 Hævnen (In a Better World) 2010 2011: Golden Globe 2011: Academy Reward a clear-cut thematic global scope: Africa and Denmark – contrasts and surprising parallels

15. No. 15

16. No. 16 ‘Romantic comedy’ Visually relating to Walt Disney Cindarella story Banal music: Dean Martins That’s Amore Sorrento Clear primary colors: yellow, blue, red The romantic comedy with a twist or two

17. No. 17 -Wilbur Wants to Kill Himself (2002) -An Education (2009): three Academy Award nominations -A full adaptation to a foreign film culture