Echoes of the Past: Popular Music and Nostalgia in Modern Television...

VIDEO-ESSAY. Referring to modern drama series like Stranger Things, The Americans and Show Me a Hero, Andreas Halskov explores the connections between nostalgia and period-specific popular music, arguing that nostalgic pop- and rock-scores illustrate a tendency in modern society and television. A trend that television networks and on-demand services try to monetize, more or less strategically.

A Mere Formality

VIDEO-ESSAY. Hou Hsiao-Hsien is a great, but somewhat underappreciated Taiwanese auteur, known for his long takes and slow pacing. In this video-essay, Adrian Martin and Cristina Álvarez López explore his unique style as seen in a scene from the 1995-film Good Men, Good Women. Mirroring the tempo and attention to detail in Good Men, Good Women, this video-essay tries to capture the very essence of Hou Hsiao-Hsien’s aesthetic.

Dimittender, døgenigte og Don Juaner – eksistentielle træk hos Mike Nichols

VIDEO-ESSAY. Mike Nichols var en af sin tids mest hæderkronede amerikanske instruktører, og på tværs af hans film afsøger han forskellige eksistentielle temaer, såsom meningsløshed og fremmedgørelse. Disse temaer og deres filmiske iscenesættelse belyses i dette videoessay. Et videoessay, som runder filmene The Graduate (1967), Catch-22 (1971), Carnal Knowledge (1971) og Closer (2004).

What’s the Frequency, David? Noise and Interference in the films of...

VIDEO-ESSAY. The films of David Lynch often feature electronic devices that don’t work and people who seem to be speaking 'on different frequencies'. In this video-essay, Andreas Halskov explores noise, interference and faulty wiring as common elements in the works of David Lynch.

It’s not tv, it’s art-tv

VIDEO-ESSAY. I 2003 brugte den amerikanske filmhistoriker Kristin Thompson begrebet art-tv om tv-serien Twin Peaks. I sit video-essay argumenterer Henrik Højer for at aktuelle serier som Mr. Robot, The Leftovers og The Knick fører arven fra David Lynch videre og udfordrer seerne gennem eksperimenterende brug af bl.a. long takes, musik og montageklipning.

Indledningens kunst – den moderne titelsekvens

VIDEO-ESSAY. Som paratekst til diverse film og tv-serier har titelsekvensen forandret sig, og den regnes efterhånden som en selvstændig kunstform. I dette videoessay tegner Andreas Halskov en kort historie over titelsekvensens udvikling i en tv-mæssig kontekst: fra konkret-rammesættende montager, der primært etablerer seriens miljø, karakterer og cast til moderne, mere abstrakte og æstetiske titelsekvenser, skabt af selvstændige produktionsselskaber som A52, Digital Kitchen, Imaginary Forces og Elastic.

Camera Movement in Narrative Cinema

VIDEO-ESSAY. In this visual essay Jakob Isak Nielsen takes a closer look at the contribution of camera movement to “the language of cinema”. He suggests that any camera movement will serve one or more six proposed functions.

Bag sorte gardiner: Det fængslende og fascinerende format 1:1

VIDEO-ESSAY. Jan Oxholm kaster et blik på det usædvanlige format 1:1 i det psykologiske drama, Mommy (2014). Brugen af klaustrofobiske kvadrater er et genialt greb af den unge instruktør, Xavier Dolan, som burer sine karakterer inde bag billedformatets sorte gardiner.

Road to Nowhere: Stuck on the Freeway in Los Angeles

VIDEO-ESSAY. The freeway is the icon by which Los Angeles is described. But it is also associated with identity crisis and lonely souls in an endless traffic jam. In this audiovisual essay, Jan Oxholm explores the dramatic use of the Los Angeles freeway in Hollywood cinema and arthouse films dealing with urban alienation.

Between Two Worlds: The Competing Moods of David Lynch

VIDEO-ESSAY. David Lynch’ films are full of paradoxes, and in this video-essay Andreas Halskov deals with two of the Lynchian paradoxes (the genre paradox andthe register paradox), as seen in three of David Lynch’s famous productions: Blue Velvet (1986), Twin Peaks (ABC, 1990-1991) and Wild at Heart (1990).