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

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)

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)

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

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, admissions) Lone Scherfig with Italiensk for begyndere (Italian for Beginners, 2000), a Dogme production, 828,730 admissions (Source: Facts and Figures, DFI.dk)

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)

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

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

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

No. 10 Brothers 2009 (I: Jim Sheridan)

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

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

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

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

No. 15

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

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