16:9 Talks: Joel Fields

16:9 TALKS. Joel Fields is a writer and executive producer who worked as showrunner on the acclaimed period drama The Americans. In this interview, Fields talks about the conceptualization and development of The Americans, and he talks about authenticity, music and the so-called “antihero genre”. We have seen many tragic heroes and antiheroes in literature, theater, film and television – from Richard III to Tony Soprano and Walter White – but Elizabeth and Philip Jennings were never conceived as antiheroes. That question and ‘the question of authenticity’ are central to this interview with Joel Fields, who also talks about growing up at a time of international conflict, tension and paranoia.

Double Nostalgia in The Queen’s Gambit

169 SECONDS. Jaap Kooijman’s audiovisual essay “Double Nostalgia in The Queen’s Gambit” focuses on one specific montage sequence in the 2020 Netflix series, which uses Shocking Blue’s 1969 song “Venus” as soundtrack. The use of the song and its music video not only expresses the emotional state of the protagonist, but also raises questions about watching music television as a cultural practice.

16:9 Talks: Michael Ruscio

16:9 TALKS. You can currently see his work in the thrilling TV series Your Honor, but the editor Michael Ruscio has also worked on modern cable classics like The Sopranos and Six Feet Under. In this interview conducted by Andreas Halskov, he talks about those two series, about appointment television and the art of editing.

Lust for Life

169 SECONDS. Thomas Vinterberg’s latest work, Another Round (2020), deals with the Danish drinking culture. Mads Mikkelsen plays a high school teacher who has lost his lust for life. The question is whether he is flying or falling in the last shot of the film? In this third edition of the 169 Seconds audiovisual format, Jan Oxholm analyzes the final scene and the dramatic use of the freeze frame technique.

16:9 Podcast: Fjernsyn for viderekomne, the recap

PODCAST. Det er ved at være ti år siden, 16:9 udgav sin første antologi, Fjernsyn for viderekomne, der omhandlede den amerikanske tv-series såkaldt tredje guldalder. I den anledning samler vi i denne udgave af 16:9 Podcast op på bogens indhold, hvordan tager den sig ud i bagklogskabens klare lys, inden bogen i næste uge frit kan downloades fra 16:9’s hjemmeside. Fra alle os til alle jer.

Previously on Perry Mason

169 SECONDS. In the second edition of our audiovisual format 169 Seconds, Henrik Højer analyzes a scene from the last episode of HBO’s Perry Mason. A scene that never takes place at the diegetic level but which nevertheless serves two important purposes in the context of the series.

16:9 Talks: Janus Metz

16:9 TALKS. 16:9 har talt med instruktøren Janus Metz om hans oeuvre og tegner i dette interview et portræt af Metz som en antropologisk filmskaber. Interviewet er lavet i samarbejde med VI ELSKER SERIER.

Mastering Dialogue: American Crime

169 SECONDS. In the first example of our new audiovisual format, 169 Seconds, Andreas Halskov presents a condensed analysis of the alternative and experimental dialogues in American Crime (ABC, 2015-2017).

16:9 Podcast: Streaming for viderekomne

PODCAST. Tv-landskabet har forandret sig markant i streamingens tidsalder - det der ofte kaldes the multiplatform era. Dette fænomen behandles i antologien Streaming for viderekomne (2020), der følger op på 16:9-bogen Fjernsyn for viderekomne (2011) og samtidig udvider interessefeltet til ikke blot at dække nyere amerikanske tv-serier, men serier fra flere forskellige nationer og industrier. I denne podcast taler tre af redaktørerne bag Streaming for viderekomne, Henrik Højer, Jakob Isak Nielsen og Andreas Halskov, om bogens indhold og de fænomener, som der ikke blev plads til i bogen.

No Voiding Time: A Deformative Videoessay

VIDEO-ESSAY. Deformative criticism is a playful approach to film analysis that creates a new aesthetic object from the film being analysed. In 'No Voiding Time’, Alan O’Leary divides Paul Thomas Anderson’s Inherent Vice into its individual component shots on four screens and treats the sound for musicality rather than sense. The result is an absurdist artefact that celebrates an already perplexing film.