“A Monster for the Ages”: Anton Chigurh and the Image of...

IN ENGLISH. Anton Chigurh, the main villain of the Coen Brothers’ No Country for Old Men (2007), has been called a ”Monster for the Ages.” What makes him so? Jens Kjeldgaard-Christiansen shows how a moral psychological perspective can render the aesthetically supercharged antisociality of the character intelligible.

The Saga of the Star Wars Soundtrack Album Overture: On Forty...

IN ENGLISH. For more than 40 years, John Williams's Star Wars main title music has remained one of our most popular pieces of symphonic film music. This is the story of its very first recording, used in the film and on the soundtrack album. Subjected to reconception, deconstruction, suppression and restoration, this the most celebrated recording has led a surprisingly eventful commercial career.

Theatrical Transcendence: Mizoguchi, Noh Theatre and Film Style

IN ENGLISH. Kenji Mizoguchi remains as one of Japan’s most accomplished filmmakers. His work called upon a number of influences, not just from his cinematic peers, but also from his own culture. One such influence which was prevalent throughout his life as a director was the Japanese theatre, particularly traditional noh theatre which was used as both a stylistic and narrative device. In our latest article, Paul Spicer explores this relationship by examining two of his most important works of the 1950s.

Den komplekse Bond

FEATURE. Den nye James Bond-film, SPECTRE, tilbyder os som vanligt eksotiske locations, billedskønne kvinder og action af højeste kvalitet i selskab med agent 007. Men ved indlemningen af Daniel Craig i rollen som James Bond skete der samtidig en ændring af seriens fortællemæssige strategi, som nærmest er blevet overset i modtagelsen af filmene.

En film uden kajakker? Et lokationsstudie af grønlandsfilmen Nuummioq. Del 2:...

FEATURE. Grønland er meget mere end høje fjelde og dybe fjorde. I anden feature af to arbejder Anders Grønlund og Emilie Dybdal videre med grønlandsfilmen Nuummioq og træder denne gang bag kameraet. Ved hjælp af en såkaldt skrivebordsanalyse undersøger de filmens produktionsmæssige omstændigheder og giver et indblik i den grønlandske filmhistorie, en turbulent proces og et unikt produktionsmiljø, hvor ressourcerne er små, men ambitionerne enorme.

True Crime: Forbrydelse, fortælling og dom

FEATURE. Kan du spotte en morder? Fortællinger såsom Netflix’ Making a Murderer giver os adgang til de anklagede og en vifte af nøglepersoner i en mordsag, og inviterer os til at tage stilling. I artiklen ”True Crime: Forbrydelse, fortælling og dom” sætter Thomas Enemark Lundtofte fokus på de nye dokumentariske krimiseriers deres retoriske apparat og etiske ansvar.

“Our future is in the city”: Storbyens udfordringer i David Simons...

FEATURE. David Simon har været idémand bag alle sine serier og ført dem igennem fra start til slut. The Wires kanoniske status er uomtvistelig, men har også skygget for nogle tværgående træk i Simons serier. Èt af de træk er det genkommende fokus på amerikanske storbyer og de udfordringer, som de hver især står over for. Mikkel Jensen fører os igennem Simons serier med det for øje.

Hannibal’s Tasty Paradox

IN ENGLISH. Why do we rarely see him carry out the actual act of killing while we often get to see him eat a fancy dinner? Whenever the sadistic cannibal Hannibal Lecter enjoys another gourmet meal, this broadcast TV series displays culinary cannibalism with luxurious aesthetics that could rival most cooking shows. But why? Mads Møller Andersen analyzes the many appeals of NBC’s Hannibal and especially its food strategies.

Godard in Wall-eyed 3D

IN ENGLISH. Godard’s 3D-film Adieu au langage (2014) shapes a new cinematic aesthetic of 3D that is decidedly non-immersive. Placing the film in the history of Godard’s cinema and in the history of 3D cinema, Mathias Bonde Korsgaard argues that the film at once points to a potential crisis of the 3D film as well as its radical artistic possibilities.

En film uden kajakker? Et lokationsstudie af grønlandsfilmen Nuummioq. Del 1:...

FEATURE. Indlandsis, høje fjelde og nordlys – klichéerne regner ned over Grønland. Med Nuummioq (2009) fik landet sin første egenproduktion, og intentionen var klar: Filmen skulle modarbejde stereotyperne og vise det ‘sande’ Grønland. I nærværende feature – den første af to – stiller Anders Grønlund og Emilie Dybdal skarpt på den ambitiøse film og undersøger, hvordan den leverer et nuanceret billede af Grønland.