Peer reviewed

FEATURE. Den norske serie Exit bygger på vidneudsagn fra fire anonyme norske milliardærer fra Oslos absolutte finanselite og handler om deres grænseoverskridende luksusliv. Så selvom serien er fiktion, giver den stærke virkelighedskobling mulighed for et særligt spil med modtagerens perception. Louise Brix Jacobsen undersøger i denne artikel Exit med et særligt fokus på rygternes magt.

FEATURE. Kvindecentrerede serier er skudt frem i det seneste årti og har tilsyneladende vundet indpas hos seerne. I 2010’erne var det navnlig HBO-serien Girls, der portrætterede det kvindelige erfaringsunivers og som også blev genstand for stor akademisk interesse. Derefter fulgte serier som Broad City, Insecure og I Love Dick. Med den bramfrie Fleabag i centrum lægger Fleabag sig i slipstrømmen af disse kvindeportrætter. Serien går imidlertid også sine egne veje og forholder sig – indimellem hysterisk morsomt - til postfeminismens idealer.

IN ENGLISH. What makes some bad films “so-bad-they’re-good”? In our latest article, Marc Hye-Knudsen and Mathias Clasen shed light on the paradoxical appeal of bad films by bringing contemporary humor research and cognitive film theory to bear on Tommy Wiseau’s cult classic The Room, often heralded as “the best worst movie ever made.”

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.

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.

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.

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.