{"title":"Negotiating Special Relationships: Susanne Bier’s Comedies","authors":"Gunhild Agger","doi":"10.3366/edinburgh/9781474428729.003.0003","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474428729.003.0003","url":null,"abstract":"‘Negotiating Special Relationships: Susanne Bier’s Comedies’ highlights the diversity of Bier’s films by analyzing her comedies, which, Gunhild Agger argues, borrow from and innovate characteristics derived from distinct romantic comedy traditions. Agger reads Bier’s The One and Only (Den eneste ene 1999) as a Danish language, screwball comedy best understood as a modern take on a template established by Classical Hollywood films. Meanwhile, Agger connects Love Is All You Need to trends in romantic comedy that are visible in more recent British and American films, most notably Four Weddings and a Funeral (1994), which inspired a number of transatlantic co-productions targeting the massive audience it attracted. In outlining key features of these films, Agger highlights that Love Is All You Need is significantly more cross-cultural and transnational than The One and Only and explicitly utilizes formal and narrative devices to cite its American and British predecessors. She also stresses that while the film is mainly in Danish, it includes aspects of English and Italian languages and cultures as part of its appeal to transnational spectators.","PeriodicalId":375128,"journal":{"name":"ReFocus: The Films of Susanne Bier","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131390913","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Susanne Bier’s Boundary-crossing Screen Authorship","authors":"M. Molloy, M. Nielsen, Meryl Shriver-Rice","doi":"10.3366/EDINBURGH/9781474428729.003.0001","DOIUrl":"https://doi.org/10.3366/EDINBURGH/9781474428729.003.0001","url":null,"abstract":"The volume introduction contextualizes Susanne Bier’s work in light of Danish cinema’s unprecedented popularity around the turn of the 21st century; outlines the evolution of her career; relates her work to broader questions in cinema studies related to women’s screen authorship, genre and cinema’s social and cultural influences; and previews the book’s structure and chapter foci.","PeriodicalId":375128,"journal":{"name":"ReFocus: The Films of Susanne Bier","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133571833","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Conversation with Susanne Bier","authors":"","doi":"10.3366/edinburgh/9781474428729.003.0014","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474428729.003.0014","url":null,"abstract":"Based on an interview conducted in November 2016 in Copenhagen, the volume’s postscript foregrounds the topics covered in the book and touches on provocative readings of Bier’s films advanced by contributors. Bier’s responses to the editors’ questions provide material for future discussion, particularly in the overlaps they reveal between contributors’ interests and Bier’s. The interview also includes Bier’s thoughts on many issues addressed in the volume, thus inviting Bier to collaborate on this first major push to lay down a critical foundation for understanding her as a significant screen author.","PeriodicalId":375128,"journal":{"name":"ReFocus: The Films of Susanne Bier","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123630841","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Susanne Bier’s Hollywood Experiments: Things We Lost in the Fire and Serena","authors":"M. Molloy","doi":"10.3366/edinburgh/9781474428729.003.0004","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474428729.003.0004","url":null,"abstract":"“Susanne Bier’s Hollywood Experiments: Things We Lost in the Fire and Serena” explores the lackluster responses to Bier’s first English-language productions, often referred to as her ‘Hollywood films’. Author Missy Molloy surveys a variety of sources related to the films’ productions and receptions to reveal the challenges Bier faced transitioning to new production contexts. Moreover, while the films demonstrate Bier’s willingness to experiment with unfamiliar genres and production conditions, they also reaffirm her attractions to specific cinematic subjects, images, and narrative scenarios. Thus, these less successful films provide information relevant to the project of tracing Bier’s authorial influence across a body of extremely varied works. Furthermore, the fact that her authorial influence was somewhat muted in her first ‘Hollywood’ films—due to her signing on late in pre-production as well as complications that arose during post-production— indicates that in Bier’s case, early involvement allows her to affect the characters and narratives to the extent that they reflect career-long preoccupations, which manifested in Things We Lost in the Fire and Serena to a degree that didn’t significantly appeal to either her domestic or international audience. The chapter complements Langkjær’s and Agger’s attentions to more successful films by highlighting that Bier’s approach to genre is expansive, even when it does not produce desirable results. Molloy concludes that less effective elements of Bier’s cinematic strategies are results, at least partly, of bad timing. She further argues that reception prejudices played a role in Things We Lost in the Fire and Serena’s failures to land with audiences.","PeriodicalId":375128,"journal":{"name":"ReFocus: The Films of Susanne Bier","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116952468","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Storytelling Schemes, Realism, and Ambiguity: Susanne Bier’s Danish Dramas","authors":"Birger Langkjær","doi":"10.3366/EDINBURGH/9781474428729.003.0002","DOIUrl":"https://doi.org/10.3366/EDINBURGH/9781474428729.003.0002","url":null,"abstract":"This chapter connects Bier’s approach to genre with Danish cinema’s gradual shift, apparent since the 1990s, from realism and folk comedy to mainstream genres with greater international appeals. Author Birger Langkjær suggests that Bier’s romantic comedies and dramas evidence this broader shift, which he locates in a preference for ‘tight narrative structures’ observable in Danish cinema during the last several decades. Langkjær narrows his focus to Bier’s dramas, including Open Hearts (Elsker dig for evigt 2002), Brothers (Brødre 2004), After the Wedding (Efter brylluppet 2006), and In a Better World (Hævnen 2010), which have attracted significant international attention and praise, while also provoking criticism, particularly of their melodramatic and/or ‘schematic’ properties. Langkjær scrutinizes such criticism by examining the narrative structures of Bier’s dramas and proposing art cinema and realism as genres better suited to illuminating how Bier’s dramas function. He specifically highlights the tension between ‘the macro-structures of melodramatic story-telling and film realism’ and the films’ evocations of ‘a psychological intimacy with [their] characters and the trivialities’ of their everyday lives. It is precisely this tension, he concludes, that distinguishes Bier’s dramas from traditional Danish realism and the formulas conventionally associated with melodrama.","PeriodicalId":375128,"journal":{"name":"ReFocus: The Films of Susanne Bier","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127839089","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}