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.

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

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.

Touching the Colour and Sound of Your Body’s Tears: Affect...

IN ENGLISH. The original cycle of giallo films were infamous for their scenes of murder presented in lurid and graphic detail. Although dismissed at the time as exemplifying the traits of ‘bad’ filmmaking, these films have since become highly influential. Lindsay Hallam argues that the neo-giallo focuses less on recreating a giallo narrative, and more on evoking sensory responses through vivid colour schemes, psychedelic soundtracks, and visceral imagery.

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.

«Det er bare du som kan føle det du føler» –...

FEATURE. I SKAM-klippet «Tenker det du føler» sier Isak til Even at det er bare han som kan føle det han føler, før Even hvisker tilbake at slik som dette har han aldri følt før. Men tar han ikke feil? For er det ikke slik at også mange SKAM-seere har følt med Isak gjennom sesong 3? Kommentarfeltet som følger dette og andre SKAM-klipp vitner om mange seere med sterk emosjonell investering til seriens univers og karakterer. Men hva er det som gjør SKAM til en dramaserie så mange føler så sterkt rundt?

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.

Showrunner-effekten

FEATURE. Hvad er det afgørende, når en tv-serie genindspilles? Er det kultur? Den nye kanal? Nej, det er showrunner-effekten, mener Lynge Stegger Gemzøe, der i denne feature stiller skarpt på de amerikanske genindspilninger af Forbrydelsen, Broen og Nikolaj og Julie.

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.

Øjnene der ser – overvågning, magt og ret i science fiction-filmen

FEATURE. Overvågning og dens mange teknologiske fremtoninger har en prominent plads i science fiction-filmen. I denne artikel undersøger Peter Ole Pedersen genrens evne til at skabe visuelt frapperende og tankevækkende scenarier, der udfordrer vores vante forestillinger om overvågningens mange forbindelser til samfund, retsstat og religion.

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.